Skip to main content

Full text of "Catalogue of valuable pictures by masters of the early English, Dutch, Flemish, and French schools to be sold at unrestricted public sale by order of Mr. J.D. Ichenhauser"

See other formats

: v 'iter 

S% J 








x <Pv 


v \ 



T s 


Digitized by the Internet Archive 

in 2013 












FEBRUARY 26th and 27th, AT 8.30 O'CLOCK 







-ll{ JOSHUA REYNOLDS, I'll. \. 
( i> ilogue No. loo 


./ ;/.'! WUO/YIJ! / in<(>!. }IH 

• !l;Ji;') 




NEW YORK, 1903 

Illustrations by A. W. Elson Sf Co., Boston. 
Photographic Negatives by Chester Abbott Lawrence, New York. 


Notwithstanding the variety that characterizes this collec- 
tion of pictures, there is running through it a prevailing note. 
Almost without exception, Mr. Ichenhauser has been influenced 
in his selection by a feeling for color. Consequently we may 
anticipate that the exhibition will be one of remarkable richness, 
and, with all its diversities, of a reasonable homogeneousness. 

For it hinges upon a notable gathering of portraits, inter- 
esting as examples of the artists represented and as portraits of 
historic personages. And if we pursue the analysis still further, 
we shall find the collection centres round the early art of Eng- 
land, including the work not only of Englishmen, but of those 
foreigners who were attracted thither, or whose works found 
favor there while still of small account in their own country ; a 
summary which includes landscapes, as well as portraits. Out- 
side of this main group is a scattering of foreign painters, some 
few of whom belong to the nineteenth century. This is a fairly 
just characterization, and certainly a convenient one. 

England was first awakened to the dignity which painting 
had reached abroad in the reign of Henry VIII. , when Holbein 
visited the country. His literal fidelity of portraiture and his 
power as a colorist coincided with and established a racial prefer- 
ence that was to be more or less the distinguishing trait of Eng- 
lish appreciation. The great German is not represented in this 
collection, the earliest example in connection with England being 
Cornells Janssens Van Ceulen's Portrait of the Queen of 
Bohemia. She was the daughter of James I., and destined by 
her marriage with the Elector Palatine to become the progeni- 

trix of the House of Hanover. We shall scarcely discover any 
suggestion of the coarseness of the Georges in this delicately 
refined face and in the grave sobriety of the costume. The 
painter's position at the Court of St. James was seriously im- 
paired when, in 1632, Charles I. invited thither Anthony Van 
Dyck. The latter, as Walpole tells us, was accustomed to 
receive £60 for a full-length, and £40 for a half-length portrait, 
charging his royal patron an average of about £50, which was 
not infrequently reduced. In the present collection are two 
examples of his art : portraits of Queen Henrietta Maria, and of 
the celebrated architect, Inigo Jones. The great artist "loved " 
the latter, and his portrait of him is one of the most virile and 
sympathetic interpretations of a fine head that one could desire 
to see, while his portrait of the queen is a beautiful example of 
his courtliness of style, wherein the exquisite costume is treated 
with a breadth and nuance indescribably splendid. 

These were times of splendor, following on the spacious 
days of the great Elizabeth and the renaissance of English lit- 
erature under the inspiration of Shakespeare and Ben Jonson. 
There was to be a setback, however, in the necessary but artis- 
tically obnoxious interruption of the Puritan movement, to be 
followed in turn by the inevitable reaction of the looser morals 
and lower ideals of the Restoration. Sir Peter Lely, who had 
arrived in England in 1641, the year following Van Dyck's 
death, weathered the tumultuous time, and under Charles II. 
was made principal painter to the Court. He is represented on 
this occasion by three charming portraits of children, one of 
them of special interest, since it represents the noble and ill-fated 
Algernon Sidney, and by the portrait of a grande dame, the 
Countess of Peterborough. In this there is a certain affectation 
of pose, but with what a gusto the gown is painted ! We are 
reaching a period when the braveries of velvets and satins loom 
up very large in the artist's eye. We may as well acknowledge 

it, and, while recognizing the inferiority of motive as compared 
with that of psychological study of character, yet allow il due 
meed of praise. There is a joy in sumptuousness of fabric; we 

realize it to-day, and so did Kneller. 

The latter reached London in I^Tf, and soon secured the 
notice of Charles 11., who, to save himself trouble, as Walpole 
relates, sat to both Lely and Kneller at the same time. The 
hitter's picture was finished first, and his fame at Court, thus 
established, continued through the reigns of the succeeding 
sovereigns into that of George I. His ' ' Portrait of Queen 
Anne " in this collection is a fine example of his facile skill in 
the rendering of sumptuous fabrics, while that of ' Richard 
Lord Clifford and Lady Jane, His Sister," distinguished by 
similar qualities, betrays also the meretriciousness and affecta- 
tion of his style, which were due as much to his English envi- 
ronment as to his German temperament ; representing, indeed, 
an amalgam of the two. 

If we digress for a moment from following the course in 
England, we may note how r the Frenchmen, Mignard, Largilliere 
and Yanloo, with their finer racial instinct, could give a subtle 
allurement to portraits of no more seriousness psychologically. 
Nor is it entirely a digression, for the picture by the last named 
is a portrait of that brilliant and erratic Englishwoman, Lady 
Mary Wortley Montagu; while one of the examples of Largil- 
liere represents the Princess Sobieski, wife of the elder Pretender 
to the English throne. A refined elegance distinguishes these 
portraits, the latter being especially beautiful in color, and painted 
with extreme delicacy. Again, in Mignard 's "Portrait of Anne 
of Austria ' ' the magnificent costume plays the largest part in 
the conception ; but with what a frankness of motive and painter- 
like reserve the artist has confined himself to simply rendering 
its various characteristics of splendor! On the other hand, the 
interest of Drouais's "Portrait of Buffon " consists in the preci- 

sion with which it records the great naturalist' s exceptionally 
noble head. As a picture it will not compare with the work of 
his English contemporary, Reynolds. For with Drouais we 
have reached the latter half of the eighteenth century, by which 
period a school of native art has arisen in England, and English 
artists have for a time a monopoly of what is vital in the world 
of painting. 

The collection recalls the founder of the English school in 
one picture by Hogarth, ' ' The Greenroom " ; a reminder of 
the interest which the painter, himself so dramatic, maintained 
in the drama, and an example of one of his " Conversation 
Pieces, ' ' as they were called at the time, in which he introduced 
many figures, for the most part portraits, in characteristic 
groups. It also includes specimens of the work of Wilson, 
Romney, Reynolds and Gainsborough, and by the first-named 
a rare example of his art in portraiture, "Girl with Bird's 
Nest, ' ' a very sweet study of a dreamy-eyed, entirely childlike 
child. His portraits, examples of which are in the Garrick Club 
and several private collections in England, were mostly executed 
before his visit to Italy in 1749. Gainsborough's portrait of 
Lord Dundonald is a good example of his feeling for delicate 
tonality; while that of " Lady Buller," very choicely reserved 
in color, has some beautiful passages of painting in the flesh 
parts, and notably in the hand. In both portraits the nature of 
the subject stands out with quiet force, tinctured in the manner 
of presentment bj r the artist's own. Of the two portraits by Sir 
Joshua in this collection, the "Richard Grenville, First Earl 
Temple, " is a most important work : the picture of a full-sized 
figure in the robes of a peer, with the regalia of the Order 
of the Garter, drawn and painted in the artist's most magisterial 
manner, and in perfect preservation. 

The reputation of English painting, and the estimation in 
which portraiture was held in England, drew thither painters 

from abroad. The young Swiss, Angelica Kauffinann, was 
introduced in 1765 by the wife of the English ambassador at 
Naples. Her beauty and many accomplishments, coupled with 
the sad romance of her life — for she had been entrapped into a 
marriage with the valet of the Swedish Count de Horn, who 
had impersonated his master — made her the admired of society. 
How she herself shared the admiration can be seen in the 
portrait of herself in this collection: very sweet and elegant, 
and affectedly conscious. 

How different in character is the ' ' Portrait of Mozart the 
Elder," by another visiting stranger, Johann Zoffany; entirely 
unaffected, as it is uninspired, a bluntly truthful record of the 
visual facts, and not without some dignity of color. Benjamin 
AVest, who is represented by a water-color, " Agrippina, " 
reached London in 1763, and at this period Copley was already 
sending pictures from Boston for exhibition in London. He 
finally settled there in 1775 and secured speedy recognition. 
Two of his portraits are here, " David Garrick " and the " Chil- 
dren of the Pelham Family"; the latter, a particularly impor- 
tant example. In that same year, 1775, Gilbert Stuart arrived 
in London and was befriended by West. Ten years later he 
set up his own studio, and in the seven years which intervened 
before his final return to America, in 1792, achieved an unpar- 
alleled success. His portrait of "Dr. Fothergill," in this col- 
lection, ranks among his best. The famous London physician 
was a close friend of Franklin's, and understood and sympathized 
with the American Colonists; and Stuart has painted his head 
with the mingled tenderness of feeling and virility that he 
expended only upon subjects who interested him deeply. 

Among the younger contemporaries of Reynolds none so 
well maintained the dignity of the early movement as Raeburn : 
and his portrait in this collection, of "James Innes-Ker, " is a 
striking specimen of his forcible characterization and honest 

manliness of style. These qualities were to appear but fitfully 
among the lesser men who followed. Yet Lawrence, who did 
so much to prettify the art, is represented here by two works of 
serious dignity ; "Miss Cuthbert," and the portrait of one of his 
assistants, "Richard Evans." There are three examples by 
Opie, a single one by Hoppner, two by Shee, and a good 
example of Beechey ; while Pickersgill's portrait of "Words- 
worth," both for the subject and for its rendering, is a work of 
more than ordinary interest. This portion of the summary may 
be concluded with the mention of Leslie's "Duke and Duchess 
Reading, ' ' one of his little pictures of ' ' genteel comedy, ' ' skil- 
fully executed, and very choice in feeling. 

The early landscape art of England is represented by ex- 
amples of the well-known men, and of many of those who are 
in less repute, while no less than nine Turners are included. 
Wilson appears with three Italian scenes, one of them a view 
of Tivoli from nearly the same spot as in the larger " Tivoli 
Landscape ' ' which recently belonged to the Warren Collec- 
tion. There is also a landscape by George Barrett, who, as 
master painter to Chelsea Hospital, was receiving £2,000 a year 
for his pictures, while Wilson's went begging. " The Carrier's 
Cart " is a good instance of one of Gainsborough's minor works, 
while out of six canvases by Morland the "Sow and Pigs' 
is a superlatively fine example. By his brother-in-law, James 
Ward, are two subjects of horses; one of them, "Horses, Morn- 
ing, ' ' being particularly good in drawing and color. He worked 
in the manner of Morland, and unscrupulous persons have not 
hesitated at times to substitute the latter 's signature and sell 
the pictures as his. 

Of the Norwich school there is one example by Stark, two 
charming landscapes by Vincent, an unusually important one 
by William Collins, and three "Old Cromes " ; among the 
latter a "Moonlight" of splendid quality and strength. 

The single Constable, "Man Watering Horse," is a small 
picture, but characteristically forceful. Others which should 
be noticed are an excellent 'Sea Piece and Shipping," by 
Callcott ; a "Street Scene," by Caleb R. Stanley; a "Hough 
Sea," by J. Stannard ; and a very handsome modern picture, 
" Spanish Fishermen," by Frank Brangwyn. 

The nine pictures by Turner include three oil paintings and 
six water-colors. Three of the latter are from the ' Liber 
Studiorum, " numbers 7, 33 and 48, respectively ; examples 
of extreme rarity, and in their delicacy of method and compre- 
hensiveness of suggestion fully justifying the repute in which 
the series is held. Nor could one imagine more exquisite water- 
colors than the two views of ' ' Lago di Maggiore, ' ' indescrib- 
ably dainty, extraordinarily full of character. Of the three oil 
paintings the finest is, perhaps, the "View on the Neckar, " in 
which the grandeur of the natural facts are supplemented by so 
beautiful a spirit of imagination. 

The review of the pictures of the English school shall be 
concluded with a reference to two full-sized heads of dogs by 
Landseer. In their structural drawing, in the broad finish with 
which the hair is rendered, and in the expression of character, 
unmixed with any sentimental allusion, they represent the great 
animal painter in one of his strongest phases. 

The collection includes six examples of American landscapes 
— a Julian Rix; a William Keith; a Bunce; "Hiding in the 
Haycocks," a rare example of Wm. Bliss Baker, whose achieve- 
ment and still greater promise were cut off by his early death : 
and two examples by Blakelock, one of them, '■Autumn 
Landscape, ' ' being a picture of very subtle charm. 

Among the sprinkling of modern pictures should be noticed 
a particularly handsome "Coast with White Cliffs," by Cour- 
bet, a large and sketchy, but very delicate, Daubigny, and For- 
tuity's study for "The Spanish Marriage." Following back 

to the eighteenth century, we shall find two of Paul Joseph 
Sauvage's very interesting imitations of bas-reliefs, and from 
the previous century one of Gaspard Poussin's warm- toned, 
finely composed Italian landscapes. 

Representing Italian art are the following : A moderate 
portrait by Tintoretto; a curious subject of the infant Christ 
asleep upon a cross, by Guido Reni ; a study by Ricci, and 
good examples of Canaletto and Guardi; while an exquisitely 
beautiful drawing by Raphael, a study for ' ' The Entomb- 
ment, ' ' in the Borghese Palace, is one of the choice, particular 
gems of the collection. A very interesting fountain subject 
by Velasquez seems to be an echo of his visit to Italy. 

Mention has been made of the Van Dyck examples, and 
among the other representations of the Flemish school is a 
study by Rubens for his large picture, " Pluto and Proserpine," 
in the Madrid Museum. The Dutch pictures include a rare 
example of Dirk van Deelen, whose subjects of Italian archi- 
tecture were filled in by Van Herp, Palamedes, Stevens and 
Wouverman — in this case by the first named. Another instance 
of collaboration is ' ' Christ upon the Sea, ' ' in which the tumul- 
tuous water, represented with fine freedom of movement and 
beauty of color, was executed by the best known of the Dutch 
marine painters, Willem Van de Velde the younger, while the 
figures were added by the younger Teniers. It is a picture of 
quite remarkable impressiveness. There is a good example also 
of that other eminent marine painter, Ludolf Backhuysen. By 
Gerard Van Honthorst, who studied, and acquired the style of, 
Caravaggio, in Italy, is a large subject, "St. Matthew at the 
Receipt of Custom, ' ' naively unreligious in its conception, but a 
work that commands attention by the strength of the character- 
ization in the several heads and by the accomplished facility with 
which the draperies are painted. An unusual example of Cuyp's 
versatility is the fine ' ' Portrait of a Gentleman ' ' ; and by his 

father, Jacob Gerritsz, appears an exceedingly honest, interest- 
ing subject, " Girl with Orange. Wynants is represented by 
a charmingly characteristic subject from the neighborhood of 
Haarlem; Berchem, by "Man Cleaning White Horse"; Ostade, 
by a choice little picture, " Man beside a Cottage"; and Pietei 
de Hooghe, by a quite important interior. A portrait by Rem- 
brandt, of his son Titus, is a fairly good example of the noble 
gravity of his method, with richness of color, firm and luminous 
flesh, and a general handsomeness of pictorial arrangement. 

But the finest example of the Dutch school, the picture 
which, perhaps, emerges most triumphantly from all the others 
in the collection, is the " Landscape with Cattle," by Paul Pot- 
ter. This is a work of magnificent vigor and grandeur of color, 
full of natural feeling for the cattle and the landscape, and remark- 
ably effective in composition ; a picture that is no mere tour de 
force, but a splendid exhibition of wholesome, luxurious strength. 

This brief summary would seem to prove how diverse in 
character the collection is, demanding a constant change in the 
attitude of one's mind as one turns from picture to picture ; and 
the more so since the owner has frequently, in the case both of 
portraits and landscapes, penetrated into paths of selection un- 
familiar to the general student in this country. Such examples 
have their varying degree of interest, whether for painter-like 
qualities or for the link they supply in the history of art, or for 
their reference to the outside history of their day. But the 
majority of the names, among which the less familiar are 
sprinkled, need no introduction. The examples of their work 
will be found to present a very good average of quality, empha- 
sized by no inconsiderable percentage of work of first-class 
character. It is thus a collection that offers much valuable 
material for the attention of museums, and much to stimulate 
the appetite of the individual collector. 

Charles H. Caffin. 









A river winds back from the left foreground, passing round 
a spit of land on which a fisherman is seated, appearing and 
reappearing as it approaches a village whose low spire and 
houses nestle among the trees. On the brown bank, to the right 
of the foreground, sits a figure in red, and two other figures 
appear along the road which skirts the stream. 

Height, 8 inches; length, 10 inches. 




Leaning back in his chair, against a dark olive background, 
a man of fleshly build and comfortable mien lifts his brown felt 
hat in salute, as, with lips apart in anticipation, he eyes a large 
green goblet that is held in his right hand. His long black 
sleeveless coat, worn over a maroon under-garment, is open low 
down on the chest, revealing the edges of a gray shirt. The 
jolly, rubicund face and coarse, large hands are painted with 
great delicacy. 

Signed at the left. Corn. Dusart f. 

Height, 7 inches; width, 5^ inches. 



Four men, one of them in red, are grouped on the left of 
the shadowed foreground, beyond which a path winds across the 
village green to a church. On its right three houses stand close 
together, adjoining a wooden bridge which leads to two more 
houses on the opposite side of the stream. The latter extends 
back to a delicately painted woody shore and hill, while in 
front of the bridge it widens out into a sheet of water on which 
appears a man in a boat. At the extreme right of the fore- 
ground stands a tree, with its boughs and foliage curving over 
the corner of the sky. 

Ueiyltt. ? inches; length, 8 invhet. 
Painted on coppeb. 



A road passes across the foreground, leading down on the 
left to a river, and rising on the right, between trees, towards a 
house that occupies a knoll. A figure in blue stands in the 
doorway as if to welcome a traveller who is approaching, accom- 
panied by a man with a bag on his back, and followed at some 
distance by another, who bends beneath his load. A woman and 
child are seated on the left of the roadway. The river winds 
back through the left of the composition, crossed in the middle 
distance by a three-arched bridge, on the right of which are a 
cluster of red roofs and a church. The vista terminates in pale 
gray slopes, dotted with trees and cottages, and leading up 
to faintly visible hills. 

Height, 7 inches; length, 8 inches. 
Painted on coppeb. 




An oak tree, growing on the left, spreads its foliage across 
the top of the picture. On the bank, beneath it, a shepherd 
in white smock-frock reclines, with a crook in his hand and his 
dog at his side; while a little way back, to the right of him, 
a man in a red coat sits with his elbows on his knees. On the 
right are two sheep, two others appearing in the distance, which 
is vaguely blue. The little study is rich in color. 

Signed at the right, G. M. 

Height, 4% inches; length, 5\k inches. 




On a bank, to the left, under a spreading beech tree, a party 
of gypsies is gathered round a pot suspended over a fire. Con- 
spicuous in the group is an old woman in a red cloak, while a 
man in corduroy trousers and blue waistcoat kneels down, as if 
blowing the flame. A dog occupies the front of the picture, 
and a man lies asleep on a bank at the right. 

Signed at the right, G. M. 

Height, 4 J /2 inches; length, 5% inche». 




Black and White 

Across the front is a shabby row of windows and doors ; a 
woman standing beside a window, within which a man sits at 
work. Above them is a lean-to roof, rising to a ruined struc- 
ture, with gables on the right. Trees appear beyond it, and in 
the distance, to the left, the solid mass of the Castle Hill. A 
single scrubby tree rises from an elevation in the middle dis- 
tance, on the left. 

Height, 6Y2 inches; length, 8 inches. 

From the Eabi. of Warwick's Collection, and bearing the collector's mark 
in the right corner. 




Over the green water, rocked into spray by the breeze, 
a boat with steersman and two scullers is approaching the 
hulk of a three- decker, to the right of which lies a frigate 
with a white line above her black hull. A dismantled 
man-of-war is visible farther up the river, where the shore on 
both sides stretches horizontally across the picture. On the 
right is a sprinkling of red and white cottages, the ruins of 
Rochester Castle standing up at the back, and faint green hills 
appearing in the distance. The sky is white and hazy on the 
horizon, with dapples of white cloud in the upper blue; very 
fresh and atmospheric. 

Signed at the left, J. Danby. 

Height, 8% inches; length, 14 inches. 



The water stretches in a broad sheet through the front of 
the picture, and on the bank opposite stands the mill, mount- 
ing up in a pile of reddish-brown roofs, backed by trees. On 
the right a woman kneels at the water's edge, washing clothes, 
while to the left of the picture, across the water sluice, is a 
meadow with bushy tree in front and red-roofed cottages in 
the distance. 

Signed at the left, J. Syer. 

Height, 10 inches; length, 14 inches. 

From the Collection or Mr. James Dole. 



The greenish-yellow plaster of the walls, on which hang 
two paintings of men-of-war, is illuminated by the light which 
pours in over the half door at the left, on which a seaman in 
white duck suit leans, talking to a woman outside. To his left, 
on a bench against the shadowed wall, a man in a blue tunic 
and ample white trousers, tucked up over black gaiters, sits 
with a stick in his hand, listening to the conversation; while 
to the right of the group a third man, in a red coat, leans his 
elbow on the table, smoking a churchwarden. On the table are 
a blue and white punch bowl, a black bottle, and the ace of 
diamonds ; and on the floor, some more cards and a broken pipe. 

Signed on front edge of table, Thomas Andrews, Sept., 1822. 

Height, 12 inches; width, 10 inches. 



The figures are seated on a yellow sofa, facing us, the 
gentleman's left hand resting on the lady's shoulder. In his 
other hand he holds a volume of " Don Quixote," and the lady, 
inclining her head forward with a charmingly rendered gesture 
of absorbed interest, lays a finger on the open page. Her black 
silk gown, cut square round the neck, with an edging of lace 
and a scarlet bow, has a panel of white silk down the front, 
while the single slash of the sleeve reveals the white under- 
sleeve. The gentleman wears a black beaver hat with white 
feather, a broad lace collar over the yellow doublet, and a scarf 
of orange-red silk draped over his left shoulder and wrist. 

The picture is a good example of Leslie's "genteel 
comedy ' subjects, very skilfully painted, and particularly 
charming in its quiet refinement of feeling. 

Height, 9 inches; width, 7^2 inches. 
From the Collection of Sib W. Cuxliffe Brooks, Bart. 




Standing in the water, which extends across the front of 
the picture, is a horse with a man on its back. On the left 
of the pond, beside a willow tree, appears a cottage with yellow- 
ish walls and brown roof. Across the water are large trees, 
under one of which sits a woman in a white apron, while beyond 
the meadow is a view of distant woods. The little picture has 
the large gravity of Constable's more important work. 

Height, Sy 2 inches; width, 8 inches. 

From the Collection of Mb. J. Tbavers Smith. 




A woman and child are descending a steep path on the 
right, underneath a wall of rocks with birch trees at the top, 
one of them extending its foliage over the path. In the centre 
of the foreground is a bunch of daintily painted trees, around 
which the road abruptly descends, passing back through the left 
of the picture. It is skirted by a wall, and follows the course of 
a river bounded in the distance by sloping green hills capped 
with cloud. On the road appear a dog and two figures. 

Signed at the right, T. C. 

Height, 7% inches; length, 10% inches. 




On a small pond in the foreground, with ragged edges of 
snow- covered grass, a man has fallen, his hat rolling over the 
ice, while a companion skates to his assistance. On the right 
bank a man in blue coat is kneeling to adjust his skate, and be- 
hind him a woman in red cloak, accompanied by a little girl, is 
approaching a cottage at the back. Its thatched roof is covered 
with snow, as are the straw heaps to the left of it and the bare 
branches of the tree on the right. The sky is a dull drab-pink, 
with a break of blue in the centre, around which are white 

Signed at the right, G. M. 

Height, 10% inches; length, 14 inches. 



This scene of rugged road and sand dunes is a characteristic 
subject of the artist, reminiscent of the country round Haarlem, 
where he spent sixty years of his life. 

A stream winds through the left of the composition, with 
dark olive scrub and grass on the left bank. On the opposite 
side a rough road follows its course, passing beneath a shelv- 
ing wall of sand, which is crowned with vegetation, while near 
the front a shattered tree-stem rears up, with fronds of foliage 
sprouting from its base. Below it, on the road, a man with a 
gun stops to speak to a woman who is seated, his two dogs 
meanwhile resting; and along the road, in the middle distance, 
moves another person. These tiny figures are full of animation. 
At the end of the road are two elm trees, beyond which show 
distant blue hills under a warm slaty sky, that reddens as it rises. 
until it finishes in blue. 

Signed at the right, J. Wtsants, 1674. 

Height, 10% inches; length, 13% inches. 



No. 7 of the " Liber Studiorum " 

The painting is executed in sepia and indigo. At the back 
of the yard is a thatched barn, over the top of which the 
foliage of an elm appears. To the left stands a wheat rick, from 
which a man is handing sheaves to another, on a ladder against 
the side. A wagon is being filled with them ; and near the two 
horses harnessed to it are four others, loose among the straw. 
On the right of the foreground lies a pool, and by a gate at 
the back of the yard a man with a fork over his shoulder walks 
beside another, who is wheeling a barrow. The character of the 
scene is depicted with extraordinary ease and completeness. 

Height, 1 inches; length, lO 1 ^ inches. 
Purchased from the Rev. Sebastian Bowden, S.J. 




No. 48 in the " Liber Studiorum " 

The ruins of Tintern Abbey crown a wooded knoll, below 
which the river passes, broadening towards the front. A figure 
stands waist deep in the stream, and another is seated on the 
left bank, four cows and a horse appearing in the meadow 
behind him. In the distance the river flows under a steep hill 
covered with trees. Executed in sepia, the picture, to any one 
who knows the spot, recalls its features with delightful feeling 
for their beauty. 

Height, 7 inches; length, 10 inches. 
Purchased fbom the Rev. Sebastian Bowdex, S.J. 




No. 33 of the " Liber Studiorum " 

This water- color is executed in sepia, and represents a 
broad road leading back, with tall elms on its left, to a steep 
eminence crowned by the ruins of an abbey. On a plateau 
near the summit is a flock of sheep. On the right of the road a 
stone wall bounds a meadow, and near the front a man stands 
by the open gate, through which his three horses have passed, 
talking to another man, who stands on the road with a jar in 
each hand. The picture shows the exquisite skill and beautiful 
treatment of natural facts which distinguish the best of this 
famous series. 

Height, 7 inches; length, 10 inches. 
Purchased from the Rev. Sebastian Bowden, S.J. 




Leaning forward and grasping a stick, a man is seated on 
a bench in front of a brick cottage, which has a window to the 
right, with vines growing over it, and an entrance to the left, 
closed by a half door. He is clad in a slouch hat, a drab coat 
fastened across the chest by one button, brown breeches and 
reddish stockings, a dark olive cloak falling from his shoulder 
over the left leg. The light is concentrated on his bearded face. 

Signed at the upper right, A. v. Ostade. 

// tight, 10 inches; width, 7% inches. 
From the Collection or the Hon. G. Browne. 



Cotherstone was bred by John Bowes, of Streatlam Castle, 
Durham, and trained by Bill Scott, who was in the saddle when 
he won the Derby in 1843. He was sold the following year to 
Earl Spencer for three thousand guineas, but, after winning the 
Royal Stakes at Newmarket, broke down at Goodwood. The 
engraving of this picture by E. Hacker is included in Taunton's 
"Portraits of Celebrated Race-horses." 

The bay horse, in racing trim, with jockey up, in black cap 
and jacket, stands across the picture, facing to the right. The 
level turf stretches back to a house on the right, surrounded by 
trees. A little way behind the horse, on the left, stands a high 
pole, marking, probably, some measured distance on the training 

Signed at right lower corner, H. Alken. 

Height, 12 inches; length, 16 inches. 

With the engraving. 



A meadow stretches back from the foreground, on the left 
of which three white cows and a brown one are grouped near a 
gate. This leads into a belt of wood which skirts the pasture 
to the middle distance, where the view is bounded by a hedge. 
The trees, growing out of brownish brushwood, are in various 
tones of olive black, blurred by the gathering darkness, in which 
the wood has the appearance of loose and penetrable density. 
The darkened grass is lush and vigorous, the whole scene being 
saturated with cool, moist atmosphere. 

Signed on right lower corner, Peppe. 

Height, 12 inches; length, 18 inches. 




A white spaniel with brown ears lies asleep under a little 
tree from which a game-bag is suspended. The game, both 
furred and feathered, is piled around, a conspicuous object being 
a hare stretched on its back, underneath a gun that rests against 
the tree. 

Height, 14 inches; length, 17 inchet. 




In 1798 Denon accompanied Bonaparte's expedition to 
Egypt in the capacity of artist and archaeologist. The picture 
represents him standing before a ruined temple, at the head of a 
group of soldiers and Arabs who have exhumed a mummy. Two 
men are kneeling beside the open sarcophagus, while two others 
hold up the mummy for the savant's inspection. In contrast 
with his rapt contemplation is the nonchalance of an Arab 
who sits beside a fallen piece of masonry, smoking a long pipe. 
At the back of the group, soldiers are on guard at the entrance 
to the temple enclosure, within which stand pillars with lotus- 
leaved capitals and a pylon, glistening white against the clear 
blue sky. 

Height, 14 inches; length, IS inches 
From the Cabinet de la Malmaison. 




The lady is seated, facing three-quarters to the left, and 
slightly turns her head with a little smirk of conscious rectitude. 
The hair is smooth upon the crown, with a row of ordered ring- 
lets over her forehead, and clusters of ringlets round her neck; 
while above the modish coif floats a halo, ringed against a 
crimson curtain at her back. A string of pearls encircles her 
neck, and butterflies of pearl and jet decorate her citron- colored 
fichu. The robe is of gray satin, and a gauzy scarf of lapis- 
lazuli blue is draped over the left arm. The left hand holds a 
palm branch, while the right rests upon a broken torture- wheel. 

The picture is set behind an oval gold mount. 

Height, 17 inches; width, 12% inchei. 



25— ODIN 

The head of a St. Bernard, full size, is shown facing to the 
right, but inclined sufficiently to the front to show the farther 
eye. The color is orange tawny, darkest on the ear, with a 
narrow white blaze extending from the white muzzle over the 
head. Below the black collar is a white ruff. These are 
the colors and markings particularly prized in this breed. The 
head is painted in Landseer's broadest and most masterly style, 
a perfect example of sympathetic comprehension. 

Height, 17 inches; length, 2\ inches. 

This picture, formerly the property of Mrs. Drummond, has been frequently 



26— HA FED 

A companion to the preceding picture, this one represents 
the head of a magnificent rough-coated Scotch deer-hound, 
facing in profile to the left. The color of the muzzle is white 
dusted with fawn; a darker tone of fawn marks the ear, and 
a brownish streak extends along the upper jaw. The eye is of 
peculiar brilliancy, and, with the slight protrusion of the tongue, 
gives to the head an indescribable animation. A brown collar 
with large ring attached to it surrounds the neck. In its in- 
comparable realism it is a noble companion to the "Odin." 

Height, 17 inches; length, 21 inches. 

Formerly the property of Mrs. Deummond, and frequently engraved. 



The scene is from the neighborhood of £tretat, its con- 
spicuous feature being a bold wall of white cliffs, which has 
a natural arch upon the left, and stretches across the middle 
distance, clothed on its summit with yellowish grass. Above 
it the sky is heavy with slaty-colored vapor, melting into softer 
gray as it reaches the pale greenish blue of the upper heaven. 
The sun shines full upon the cliffs and on the sheet of turquoise 
sea which extends to the reddish-brown sand in the foreground. 
On the right of this, in shadow, rises a steep formation of pur- 
plish brown rocks. 

There is a splendor of force both in the contrast and in 
the quality of the color scheme, and a vigorous realism in the 
rendering of the character of the scene. 


Signed at the left, G. Coctbbet. 

Height, 18 inches; length, .'-' inches. 



The bust and notably handsome head are shown against 
a dark olive background, into which the black velvet cap and 
golden-brown curls imperceptibly merge. The face is almost to 
the front, with a shadow over the forehead; large brown eyes, 
wide apart; a broad, straight nose; and full lips curving up at 
the corners. Over the closely fitting white shirt the dark olive- 
green robe shows a V-shaped opening, while the sleeve is caught 
up at the shoulder with a jewel. The portrait is rich in color, 
the flesh firm and luminous, and the whole distinguished by pic- 
torial splendor and gravity of characterization. 

Height, 24 inches; width, 20 inches. 

From the Collection of Lieut.-Col. G. Pilkingtok Blake, Thubston House, 
Buby St. Edmunds. 



The head and bust are shown facing three-quarters to the 
front, surrounded by an olive-drab background. The black hair, 
parted on the top and smooth over the crown, is worn in ringlets 
at the side, and at the back is gathered into a knot, decorated 
with a chain of gold shells. The handsome face has large brown 
eyes, and cheeks and lips aglow with healthy color. The black 
velvet bodice is worn low over the shoulders, with full sleeves, 
its upper edge curving down over the bosom to a point, where a 
glimpse of lace is visible. Long pendants of reticulated gold- 
work hang in the ears. 

Height, 24 inches; width, 20 inches. 

A portrait of Mrs. Cuthbert by this artist was exhibited at the Roi u 
Academy in 1817. 




The light illuminating the centre of the stable-yard strikes 
full upon the back of a white horse which a man is rubbing over, 
and glances on the head and breast of a woman who sits a little 
to the right. She is dressed in a citron- colored bodice and dull 
red skirt, engaged in needlework, and a little boy at her side is 
dragging by a string a piece of board with a stone on it, at which 
a dog is barking. In the shadow behind the group stands a 
bay horse with white underbody ; and in the shadow on the left 
of the foreground lie a cow and goat, with a sheep beside them, 
in the light. The yard is bounded by a rocky wall, against 
which is built a stable with lean-to roof and a square tower; 
while through a doorway in the wall at the back appear two 
mules, one of them ridden by a man, beyond the group being a 
view of hills and trees. 

Signed near the left, N. Berchem f. 

Height, 16 inches; length, 21 inches. 
From the Collection of W. H. Formax, Callaly Castle, Northumberland. 




Occupying an elevation on the right of the foreground is a 
picturesque group of cottages with white walls and brown roofs, 
framed in with trees. A steep road descends from them, 
bounded on the left by a parapet wall which is built upon the 
brink of the slope. The road passes across the front, and then 
continues gradually to descend between trees to the plain below. 
This stretches away, intersected by a winding river, to a distant 
horizon; prominent on the right of the middle distance being a 
white church. The foreground is animated with figures. Some 
appear near the cottages ; at the turn of the road, on the right, 
a man walking beside a donkey with a woman on its back is 
passing a group of children, and a pedestrian and a horseman 
are descending to the plain. 

Height, 18 inches; length, 2-i inches. 




A nondescript shed, with fishermen's tackle visible through 
the open door, occupies the right of the foreground. Near it in 
the centre of the picture a boy in red knitted cap stands beside 
a little girl, resting one hand on her shoulder and with the other 
pointing to attract her attention. Three fish lie at their feet on 
the sand, which stretches back to a broken fence that marks the 
edge of the water. The latter is bounded along the right by a 
perspective of cliffs, on the top of which in the middle distance 
stands the flagstaff of a coastguard station. At this point a 
wooden jetty projects from the base of the cliff, and the gray 
water is dashing itself into white foam against the piers. 

Signed on the door, above the basket, William Collins, A. R.A. 1816. 

Height, 15% inches; length, 28% inches. 


1631 (?)-1676 


On the left of the picture, beside a crimson-seated arm- 
chair, a hunter has his hand upon the shoulder of a young 
woman, at the same time touching his glass to the one she 
holds. A coal scuttle hangs from her left arm. Behind her is 
a large barrel, from which a woman stoops to draw beer, look- 
ing up, meanwhile, to the two figures. On the right of the 
foreground stands a green- covered table, with pewter flagons, 
a copper strainer, two tall wineglasses, a brass bowl, long clay 
pipes, a peeled lemon and a white cloth, while underneath it, in 
shadow, are a basket and jugs. This part of the scene leads 
under an arch to an inner chamber, with rafted ceiling and a 
window, high up on the left. Here two men are playing at 
checkers, and an old woman, carrying a dish, has stopped to 
watch them. A large lantern and green drapery hang from the 

Height, 18% inches; width, 16% inches. 



In view of the tragic end of the gifted and noble Algernon 
Sidney, this portrait of him as a boy, painted for his mother, 
the Countess of Leicester, has a pathetic interest. The large 
gray eyes look steadily to the front, the mouth also is large and 
full of expression, and the finely shaped head is covered with 
blond hair that falls in soft waves to the shoulders. The bust, 
facing three-quarters to the left, is clad in a plum-colored robe, 
which shows a little white beneath the chin. 

Algernon Sidney was born in 1622, a son of the second 
Earl of Leicester. When the Civil War broke out he took the 
side of the Parliament, and was severely wounded at the battle 
of Marston Moor. He sat as one of the judges at the trial of 
Charles I. , though he was not present when sentence was pro- 
nounced, and did not sign the warrant for execution. Never- 
theless, he characterized it as the "justest and bravest action 
that was ever done in England or elsewhere. ' ' He lived abroad 
in exile for nearly eighteen years until he was pardoned by 
Charles II. But he was regarded as a dangerous character, 
and at the discovery of the Rye House Plot was attainted on 
suspicion of complicity. The only witness against him was the 
self-confessed traitor, Lord Howard, and though two witnesses 
were necessary to convict, the notorious Judge Jeffreys garbled 
the law and condemned him. He was beheaded on Tower 
Hill, 1683. 

Height, 18 inches; width, 14 inches. 
From the Duke of Marlborough's Collection, Blenheim Palace. 




A Companion to the Preceding Picture 

The subject of this portrait was the youngest son of Robert, 
second Earl of Leicester, and the brother of Algernon Sidney, 
Born, 1041; died, 1704. 

While the body is in profile towards the left, the head fronts 
almost full face, with eyes looking towards the right. The shirt 
lies open at the neck, with collar overhanging the plum-red 
doublet that is buttoned across the chest by two cords. The 
sleeve is very full, with a large rosette embroidered on the 
shoulder. The face, crowned with soft, blond hair that curls 
to the shoulders, is of great beauty, a j^'opos of which the follow- 
ing quotation from the "Dictionary of National Biography " is 
interesting : 

" In the summer of 1605 he was appointed Groom of the 
Bedchamber to James, Duke of York. . . . The promise 
given when he was a mere boy (and Lely had painted him for 
his mother) of being extraordinarily handsome had been amply 
redeemed. ' ' 

lh mill, l^ Inches; width, II inches. 
From the Duke of Marlborough's Collection, Blenheim I'm mi. 




The water moves across the front of the picture in a series 
of rollers, olive gray in the hollows, whitish on the lighted 
edges. Towards the left a boat, with sail down, is being sculled 
by two rowers, five other figures occupying it. Two gulls 
hover in the centre, and a spar floats upon the right. Beyond 
it, in the middle distance, a broad-beamed lugger is coming 
forward under jib and mainsail. They are tawny- colored, and 
a Dutch ensign flies at the masthead. Numerous other sail- 
boats appear in the gray distance, and on the left is a stretch 
of elevated coastline. Loose cumulus covers the sky, creamy 
in the lighted parts and slaty-gray in the shadows — an effect 
full of breezy suggestion. 

Signed S, left lower corner. 

Height, 17 inches; length, 21 inches. 




On the left of the handsome woodland scene is an oak 
whose greens are touched with russet tints. Beneath it a 
fire has been kindled, and a gyps}- is kneeling on one side of it, 
while on the other a figure lies asleep. Their donkeys are 
resting in the centre of the foreground, and farther to the right 
on the road which winds back through the wood a hunter, with 
two pointers at his heels, is leaning forward to kiss a gypsy girl. 
On the right of this group a shattered tree-trunk rises above the 
bushes, and in the background of the scene is a mass of delicate 
bluish-green foliage, which forms a pleasing contrast to the 
rich, strong color of the foreground. 

Signed at lower right of centre, Pn. de Loutiiebbouro. 

Height, 17 inches; length, 21 inches. 


Between 1578 and 1582-1656 

Reaching back to the altar is a long vista of nave, sur- 
mounted by ribbed vaultings, with a triforium gallery extending 
between the clerestory windows and the arches, while the piers 
that support the latter are decorated with pictures. On each 
side appears a view of the aisles, and the foreground extends 
beyond the nave on each side with a small transept. In the one 
upon the right a barefooted woman with two children by her 
side stands near a beggar, and behind the group a comfort- 
ably dressed man leans upon the masonry, gazing at a tomb. 
Figures are sprinkled over the pavement of the nave; a monk 
in the foreground being in conversation with two peasants, 
while farther back another monk in gray is talking to a lady 
who leans upon the arm of a gentleman and has two children 
by her side. 

The picture, painted on copper, is a fine example of this 
painter's mastery of architectural perspective. On the back of 
it is the memorandum, ' ' Lot 275. P. Neefs. Bought at Alton 
Towers for J. M. Threlfall Esq. , by Thos. Agnew and Sons. ' ' 

Height, 18 inches; length, 23% inches. 
From the Eabl of Shrewsbury's Collection. 




A dull-blue sky, broken by sooty-gray clouds, surrounds 
the head, which is inclined three-quarters to the left, the direc- 
tion of the eyes being towards the front. The profusion of 
brown hair, touched with gray, is drawn off the forehead, a la 
Pompadour, with whitish-gray ribbon, piled upon the crown, and 
arranged in rolls and curls at the neck. The nose is thin, the 
upper lip rather long, the mouth precise, the chin pronounced 
and resolute ; a face of some severity, but much womanly dig- 
nity. A narrow black ribbon is tied in a bow round the neck ; 
and over a lace chemisette, drawn down to a point on the bosom 
with a brooch, is a loose bodice of black silk, with the simple 
adornment of a double bow of narrow velvet. 

Height, 24 inches; width, 18% inches. 




In the foreground, patches of blue water appear among 
rugged brown rocks, and on the right is a tree-stem with twisted 
limbs and loose bunches of tawny leaves. Beyond it a shattered 
trunk stands out against a background of brown foliage. Oppo- 
site this a two-arch bridge crosses the stream, leading to a slight 
eminence on the left. Here the ruin stands, consisting of two 
towers, joined by a curtain wall, which is pierced with a row of 
windows. The light strikes the sides of the towers and illu- 
mines also the green middle distance, which stretches back to 
two gray mountains. 

Height, 14 inches; length, 20 inches. 



The sea is of olive hue, flicking up into silver on the curl 
of the waves, and whitening towards the horizon. Near the 
centre rolls a dark-hulled fishing-smack with brown sail, flying 
the Dutch ensign from her masthead and a blue and white 
pennon from her gaff. In the front is a rowboat with three 
men in it, two of whom are paying out a trawl. Other ship- 
ping appears in the offing. A creamy cloud illumined with 
light hangs in the centre of the sky, and to the right of it is 
a moving mass of slaty vapor. 

Height, 18 inches; length, 21 inches. 




Notwithstanding a tall window to the left, the drab interior 
is dimly lighted and, with its rows of jars on shelves, accumu- 
lation of apparatus and numerous figures, presents a crowded 
appearance. The centre of the scene is the doctor himself, in a 
black gown edged with fur, who is seated at a table on which 
a volume of Galen, open at the beginning of the first book, 
rests against a globe, inscribed with the signs of the zodiac. 
He leans back to address a young woman who stands behind 
his chair, with her hands pressed timidly together, while an 
old woman at her back is making a gesture with her forefinger. 
In front of the doctor's table, upon the floor, lie an astrolabe, 
some jars and phials. In a group to the right are three boys, 
one of whom holds a pair of bellows. Behind them in the rear 
corner of the room some apprentices are preparing medicines 
at a counter, while on the opposite side of the background a 
young man sits at a writing-table with a prescription in his hand, 
on which a boy at his side is gazing. From the ceiling hangs 
a large cage, on which perches a cockatoo. 

Signed on the leg of the bench, T. W. 

Height, 20 inches; length, 23 inches. 




The sea is a silvery green, rocking up and down in a smart 
breeze. Near the centre of the forepart rides a fishing-smack 
with brown sail, in which are five men. To the left another 
is heading up to windward, and behind it in the distance 
a frigate approaches. Upon the left of the composition lies a 
three-decker, flying the Dutch ensign, with the courses flapping 
from her lowest yards. Over the horizon are masses of slaty 
clouds, darker towards the right ; then a stretch of lighter sky, 
changing to drabbish gray at the zenith. 

Height, 21 inches; length, 27 inches. 
Fbom the Collection of Genehal Mackinvon, C.B. 




The sky, a luminous olive green, barred with concentric 
broken rings of cirrus, indigo in hue, grows gradually yellow 
towards the horizon, where the full moon shows over a bed of 
dark slaty cloud. Its reflection streams across the gray and 
brown sea, to a fishing- vessel that looms up on the sand in the 
foreground, a mass of luminous dark brown. The mast is un- 
stepped and a sail clings to it, another sail drooping on the sand 
from a spar. Through the darkness upon the left a dredging- 
hook is visible, and off to the right, near the edge of the water, 
two men have kindled a small fire, whose crimson glow affords a 
beautiful contrast to the pale light around it. In the offing to 
the left a sail-boat is faintly distinguishable. 

With its rich tonality, fine atmospheric quality and solidly 
drawn foreground, the picture is a most impressive example of 
the Norwich master. 

Height, 22 inches; length, 28 inches. 
From the Collection of Captain Thurloe. 





This lady was the wife of James Francis Edward Stuart, 
the "Elder Pretender," son of James II., who abdicated the 
throne of England. Their son Charles in time became the 
"Younger Pretender." The exiled family had obtained hos- 
pitable asylum at the court of Louis XI Y. 

The bust is slightly inclined to the left, the head being 
almost full face. The powdered blond hair clusters in short 
curls on each side of the brows and is frizzed over the crown, 
and decorated with a sprig of apple blossom. The silk gown of 
delicate Nile blue has a turn-over collar, pearly pink, coming 
down to a low point on the breast, where a crimson flower and 
golden-brown leaves nestle against the lace of the chemise. 
Three pearls are fastened to the top of the shoulder, and the 
sleeve is embroidered with a little pattern in gold. A drapery 
of old-gold color crosses diagonally behind her back, and over 
it appears a patch of blue sky. The picture is very lovely in 
color, and painted with extreme delicacy. 

Height, 24 inches; width, 20 inches. 
Exhibited at the Stuart Portrait Exhibition, New Gallery, London. 




A reach of the Grand Canal extends across the front of the 
picture, and in the centre of the background rises the Church 
of Santa Maria della Salute. Mounting the steps to the 
entrance and dotted over the wide quay in front are numerous 
figures, one beside the stairway, which descends to the water, 
talking to a man who stands in a boat. Other craft lie near the 
wall to the right, and in the forepart of the water are two 
gondolas, one containing three women and a man, besides the 
gondolier. A brown structure stands on the left of the church, 
and to the right is a stretch of buildings, over the top of which 
show a campanile and a dome. The sober color scheme is 
extremely rich in tone, and the character of the scene, both in 
its architectural features and in the animation of the figures, 
is represented with delightful spirit. 

Height, 25 inches; length, 30 inches. 
Fhom the Collection of Lord Farnham. 



The romantic temperament of the artist appears in this 
portrait of herself. The head inclines back on the long slender 
neck, the gray-blue eyes are raised with an expression of sad 
longing, and the costume is an elegant adaptation of the 
Greek. A white veil, blue in the shadows of the folds, lies 
upon her blond, lightly powdered hair, which falls in ringlets over 
her forehead and strays in curls on to her shoulders. Hound her 
neck is a gold band with a row of pendants. Her gown is of 
creamy material, short-sleeved and low-necked, falling over the 
bosom in a series of festoons, while a bluish-gray mantle, edged 
with a filigree gold border, drooping from the shoulders, is 
drawn together in front by her left hand, over which the other 
is languidly laid. The figure is silhouetted against a dark olive 
background, gradually growing lighter towards the right. 

Height, 30 inches; width, 25 inches. 

From tiie Collection of Prince Toblonia, Rome. 
From the Collection of Ernest Beckett, M.P. 



Daughter of Sir Robert Peel, Bart. 

The child, in a low-necked, short-sleeved, white frock with 
a pink band round the waist, is seated on the ground in front of 
a birch trunk and dark rock, beyond which appears a distant 
view of trees, hill and sky. She holds a rose in her bosom with 
her left hand, while the other rests on a stone, beside which lie 
some cherries and corn-flowers. Her face, looking to the front, 
has the gracious, simple charm of childhood, fresh in color, the 
white brow crowned with auburn ringlets. A little red shoe 
peeps from beneath the long skirt. 

Height, 30 inches; width, 25 inches. 
Feom the Collection of E. Hyde-Greg. 




Archibald Cochrane, ninth Earl of Dundonald (1749-1831), 
succeeded to the title in 1778. He was the author of the "Ele- 
ments of Agricultural Chemistry," published by his friend Sir 
Humphry Davy. 

The figure is clad in a yellowish brown coat, fastened with 
one button over a white waistcoat and white cravat. The gray 
wig, painted with extreme delicacy, comes to a point over the 
forehead and is curled at the side, finishing at the neck in a tie. 
The brows are strongly defined ; the eyes blue ; the curved nose 
of pronounced length and the underlip slightly protruding. The 
figure, seen against a dark olive background, presents a color 
scheme of sensitive tonality. 

Height, 30 inches; width, 25 inches. 
Fhom the Collection of Mhs. Coate, Villa Malresque, St. Jeav de Luz. 



The subject of this superb portrait, the architect Inigo 
Jones, was born in 1572. " His name alone," writes Walpole, 
"would save England from the reproach of not having her 
representative among the arts; she adopted Holbein and Van 
Dyck; she borrowed Rubens; she produced Inigo Jones." 
His early promise attracted the notice of William, Earl of Pem- 
broke, an eminent patron of the arts, who sent him abroad to 
study in France and Italy. Upon his return he was made gen- 
eral inspector of royal buildings by James I. Among his prin- 
cipal works are the Banqueting Hall at Whitehall, the Palace 
at Greenwich and Greenwich Hospital, the portico of St. Paul's, 
and the Royal Exchange. He died in 1651. "Van Dyck," 
says Cunningham, ' ' loved him much and painted him often. ' ' 
One of these portraits is in the Hermitage, St. Petersburg. 

The present one represents the head and bust facing three- 
quarters to the right. The grand head, impetuous and proud 
in character, with alert gray eyes, that have the iris large, is 
inclined to the left and slightly raised, a black velvet skull-cap 
surmounting the brown ringlets. A thin mustache trims the 
upper lip, and the lower slightly protrudes above the white 
pointed beard. The flesh tones are luminous and glowing with 
vigorous health. A broad collar of lace falls over the black 
velvet robe. 

Height, 25 inches; width, 21 inches. 

Painted for the Middelton Family of Stockeld Park, near Wetherby, York- 
shire {vide "County Families of England"). It passed to Dr. Haigh, of Thor- 
parch, then to Mr. W. Howgate. 

Exhibited at the Van Dyck Exhibition in the Grosvenor Gallery, London. 




Against a leafy background, with hollyhocks growing on 
the right, a little girl in a white frock is seated on the ground, 
holding up a basket filled with flowers. Her smiling face is 
inclined over her left shoulder and encircled with the curving 
brim of a white beaver bonnet tied under the chin with satin 
ribbons. The frock, low on the neck and short-sleeved, is con- 
fined round the waist with white ribbon, and below the skirt 
appear her little yellow shoes over white stockings. 

Height, 36 inches; icidth, -2$ inches. 
Fhom the Collection of Hon. W. F. B. Massey-M a in waring, M.P. 




A daughter to the Earl of Kingston, and second cousin on 
her mother's side to Fielding, the subject of this portrait, even 
in childhood, was a favorite of society for her wit and beauty. 
In 1716 she married without her father's consent Edward Wort- 
ley Montagu, and accompanied him to Constantinople, where 
he was ambassador to the Porte. Upon her return to England 
in 1718 she had a bitter quarrel with Pope, who had been her 
friend. In 1739 she left her husband and resided chiefly in 
Italy, dying, however, in England in 1762. She is remembered 
for her brilliant letters written during her travels, published by 
her great-grandson, Lord Wharncliffe, in 1837. 

The lady is dressed in Turkish costume, the figure, seen 
to the waist, being almost full face. A turban of soft gray ma- 
terial sprigged with cream, with a veil at the back, is set upon 
her dark hair, which is brushed off her forehead in curls, and 
hangs down in a long plait over the right shoulder. The head 
is inclined to the left with a suggestion of coquetry, that is con- 
tradicted by the large brown eyes, wide apart and far-reaching 

in their gaze, but echoed in the dainty tilt of the nose and 
in the delicate expression of raillery in the little, flexible lips. 
She wears pearls in her ears and a chain of slender gold links 
round her tapering neck. The folds of a citron-colored robe are 
crossed over her bosom, and kept in place by a scarf-belt, fas- 
tened with a buckle of two large disks. An olive-gray cloak, 
edged with white fur, hangs from her shoulders. 

The remarkable personality of the subject lends an interest 
to this portrait, which is also a good example of a painter highly 
honored in his day both in France and Italy. 

Height, 29 'nidus; width, 20% inches. 

From the Bohn Collection, Christie's, 1885. 

Fbo.m the Collection of Hon. W. F. B. Massey-Mainwaring, M.P. 




The fine head, covered with dark brown hair that curls up 
over the ears and round the back of the neck, fronts three-quar- 
ters to the left, the figure being shown nearly to the waist. 
The face has the ripe colors of health, with light brown 
eyes looking to the front, and a brown mustache and beard, 
the latter clipped short to the cheeks and to a point below the 
chin. A broad collar, formed of layer upon layer of thin white 
cambric, falls over a black cloth robe with large arm-holes, 
showing the drab sleeves of the undergarment. On the edge of 
the robe, where it opens down the front, the left hand is lightly 
laid. The portraits by this artist are rare, and the present one 
is an unusual example of his amazing versatility. 

Height, 27 inches; width, 22 inches. 




The scene is the level sward of a park studded with beech 
trees. Two stand in the foreground, and a little farther back, to 
the right of them, is a fellow doe suckling her fawn, which lies 
beside her. To the left of the trees an open space of grass 
stretches to a clump of trees, near which are two stags, while 
under the trees that bound a farther glade appears a flock of 
sheep. The foliage has the pale golden hues of early autumn. 

Height, 25 inches; length, 30 inches. 




In this rare example of Wilson's art as a figure painter, the 
white-frocked figure of a little girl is seen half length, profiled 
against the landscape, while her face is three-quarters to the 
front. Her left hand, lifted to her bosom, holds a bird's nest, 
over which the other hand is placed like a lid. Below appears 
the brown and white head of a spaniel, looking up. The 
child's light brown hair is drawn up into a knot on her head, 
a fringe of soft wisps spreading over the forehead. The sweet 
little face, so earnest and childlike, has blue, dreamy eyes, 
freshly colored cheeks, and a pretty purse to the lips. She is 
standing on a slope of brown meadow under the foliage of two 
beech trees, one of which has a patch of light on its trunk, just 
to the right of the child's head. 

Height, 30 inches; width, 25 inches. 




In this very charming picture a little girl is represented 
with her left hand on the neck of a pointer. The figure, seen to 
the waist, is placed against a dark olive background, which is 
reduced to an oval by a framing of warm brown color. A lace 
cap fits closely to the head, leaving a row of yellow curls, which 
surround the forehead. The cheeks are rosy with health, and 
the blue eyes glance frankly to the right. A string of pearls 
encircles the neck. The child is dressed in a trim gown of 
French gray satin, with an embroidery of gold and blue upon 
the sleeve, and an apron-like arrangement of lace on the body. 

Height, 30 inches: width, J.i inches. 
From the Collection of E. Aitken, Stanheld College, Todmorden. 




This lady is Mrs. Elizabeth Pope, the first wife of Alex- 
ander Pope, the actor and miniature painter. She was a 
popular actress, and her portrait was painted by Dupont, Dance, 
Wheatley and others (1744-1797). 

The lady, a handsome brunette, sits with her right elbow 
on a table, and her hand lightly clasping the tress of golden- 
brown hair that lies upon her shoulder. A trim white handker- 
chief is strained over her head and fastened under her chin, the 
beautiful hair falling from it in a wave low down over the fore- 
head. The features are strongly defined, and the complexion 
is dark, with ripe, warm color. The plain white gown, low- 
necked and clinging to the bosom, is shown as far as the knees. 
The figure, inclined slightly to the right, with the left arm lying 
along the side of the dress, is relieved against an olive-brown 

Height, SO inches; width, 25 inchei. 




The upper sky, especially towards the left, is hooded with 
dark vapor, while the moon rises above a cloud near the horizon. 
Its light floods a distant basin of water, bounded at the back 
by mountains, and streams through a narrow entrance between 
rocks into the sheet of water in the front, where it fans out over 
the surface. The conspicuous feature of the scene, however, is 
the narrow entrance, the slopes of which are covered with piled- 
up buildings on the left, and on the right with towered struc- 
tures, while the bank on this side curves round to the front, 
slender birch stems rising out of its luminous shadow. The 
water is dotted with boats ; one, in the front of the picture on 
the right, containing two figures, laying a net. 

Height, 22 inches; length, '.IJ inches. 




The subject of this portrait is George Louis Leclerc Buffon 
(1707-1788), the celebrated naturalist and philosopher, whose 
' ' Natural History ' ' and ' ' Epochs of Nature ' ' gave a new and 
important direction to the study of the natural sciences. He 
was a member of the French Academy, and received from the 
king the title of Comte de Buffon. 

The massive globe-like head is covered with a tightly fit- 
ting white wig, coming to a point over the magnificent forehead 
and curled in a single roll over each ear. The gray eyes have 
an expression of quiet, earnest directness ; the mouth is firm and 
kindly, the face full, with large under-chin. Round the throat 
is a neat turn-over collar of soft white material, from which the 
cravat- ends hang low down over a coat and waistcoat of pale 
ruby velvet. The figure is seen as far as the elbows, posed 
three-quarters to the left before a red curtain. Though painted 
in a somewhat precise manner, the portrait is handsome in com- 
position and full of force and life. 

Height, SO inches; width, 25 inchet. 




In an Empire gown of creamy white material a young lady 
sits sideways before a pale drabbish green background, turning 
her face towards the left shoulder, and poising on her right hand 
a tress of golden-red hair. Her left arm is held behind her, 
covered below the elbow with a gray, gauzy veil. A silk ribbon 
encircles her head, a band of gold her waist and a narrower 
band her sleeve, on which is clasped a gold-mounted jewel. 

Height, 30 inches; width, 25 inches. 




The figure is shown half length, facing three-quarters to the 
left, seated in a chair, over the back of which hangs a crimson 
drapery. The blond hair, powdered and curled, and softly re- 
lieved against the dark olive background, is brushed back so as to 
leave the beautiful forehead exposed, except for a single curl. 
She holds a carnation to her breast, and a bunch of roses and 
jessamine upon her lap. Her grayish white gown is cut in a circle 
round her shoulders and neck, bordered by a flounce of Flanders 
lace that falls in a rivulet down the bodice, and also decorates 
the short full sleeves. The latter is gathered up by a dark blue 
jewel set in gold, a similar ornament decorating her breast, 
while smaller jewels appear at intervals in the lace below. 

Height, 30 inches; width, 25 inches. 



A river occupies the left of the foreground and reaches to 
the middle distance, where it bends to the right, passing at that 
point the left bank, on which cottages, with high-pitched drab 
roofs, appear among the trees. In the farthest distance are 
misty blue hills ; nearer, a village of red roofs and a white 
church tower; still nearer, cattle are feeding under some elms, 
whence the pasture widens towards the front, edged upon the 
right by a row of trees. It is terminated by an old stone wall 
with an irregular opening leading to the immediate foreground 
on the right, where a cottage stands, in front of which, upon the 
riverside, a boy is lying; another kneels behind him, and a child 
in white is also kneeling — all of them intently examining the 
contents of a fishing-net. 

Height, -'5 inches; length, 34 inches. 




In his earlier pictures Ward imitated the style of his 
"brother-in-law Morland, and his pictures have frequently been 
sold as examples of the latter. 

Filling the centre of the background is a drab-boarded, 
thatched stable, in the open door of which appears a carter at 
the head of a brown horse. Outside, across the picture, stands 
a white one, and harnessed to it is a light bay, the latter facing 
away from the front, towards a meadow on the right, where a 
cottage shows against the faint mass of a distant hill. Their 
cruppers are decorated with red and white fringe. 

The heavily framed horses are drawn with finely generalized 
truth, and the picture has considerable charm of mellow color. 

Height, 22 inches; length, 28 inches. 




At the end of the day's work in England the carter takes 
his horses to the farmyard pond. The latter is represented in 
the picture, extending across the foreground, and in it stand 
three horses. The centre of the group is a white horse, at 
whose head is a brown one, while the back and quarters of a 
bay show in the rear. On the white horse sits an old man in 
yellow jacket and reddish-brown breeches. A gabled shed 
stands among the trees on the opposite side of the pond, and to 
the right is a mass of distant hills. The scene is pervaded with 
the warm glow of the evening light. 

Height, 22 inches; length, 27 inches. 




On the back of the canvas the following is lettered with a 
brush: "James, Earl of Cardigan, Constable and Governor of 
Windsor Castle, and Keeper of the Privy Purse to the King, 
etc., February, 1798." 

The portrait represents a large and rather heavy- featured 
gentleman in a blue coat and white waistcoat, sitting in a red 
upholstered armchair, with his hands laid upon his knees, the 
left holding a snuffbox. The figure is seen as far as the waist, 
turned towards the right, while the head is somewhat inclined 
to the front, and the blue eyes look straight out of the picture. 
The gentleman wears a gray wig, slightly pointed over the fore- 
head and bushy above the ears. The collar and cuffs of the 
coat are rose-colored and embroidered with gold lace, and frogs 
of gold lace are stitched under the buttons down the front and 
above the wrist of the sleeve. 

Height, 36 inches; width, 28 inches. 




The subject of this picture was the daughter of the cele- 
brated actress. Dressed in white, she leans her folded arms 
upon a balustrade, a crimson drapery hanging in a loop from 
her left shoulder to her waist, so as to leave the right hand 
exposed. The bust is seen, nearly in profile, against a dark sky 
of drab tones, with a glint of indigo in the upper left corner and 
a touch of light over some trees on the horizon. Her head, piled 
with soft yellowish brown curls, some of which lie over her fore- 
head, is held a little back towards a column in the background, 
as she turns to the spectator with a smile. The circular neck of 
her dress is trimmed witli a gold edging, and the short sleeves 
terminate above the elbow in a bracelet studded with blue and 
red stones. 

Height, 30 inches; width, -25 inches. 



In the grave dignity of the whole composition, and in the 
masterly painting of the head and hands especially, this portrait 
is a superb example of Stuart's art. The subject, also, is one 
of peculiar interest. Of Quaker stock, born in Wensleydale, 
Yorkshire, and educated at Edinburgh, Dr. Fothergill became 
one of the most successful physicians in London. He had 
family connections with the American Colonists, and, when 
troubles began to arise between them and the mother country, 
made patriotic efforts to produce a better feeling, writing a 
pamphlet entitled "Considerations Relative to the North Amer- 
ican Colonies " and associating himself closely with Franklin. 
The two became firm friends, and Franklin's words, on hearing 
of Fothergill 's death, were, "I can hardly conceive that abetter 
man ever existed." 

The subject, seen to the knees and almost full face, is 
seated in an armchair covered with Spanish leather, the strong, 
placid head and the erect figure in its severe drab costume being 
outlined against a dark brown background. The gray wig is cut 
square across the forehead, lying trim and close to the head and 
curled at the side in a series of horizontal rolls. The eyebrows 

are straight and delicate, with breadth of space between the blue 
eyes ; the nose is long and pronouncedly aquiline, and the mouth 
wide, with mingled sweetness and decision. An open volume 
lies upon the knees, covering the left hand, while the right is laid 
against the leaves. 

It is doubtful if Stuart ever painted anything finer than this 
portrait, masterly in technique, so sympathetic and discerning 
in its rendering of character. 

Height, 36 inches; width, 28 inches. 

From the Collection of Mrs. Angus. 

This picture is mentioned in Bryan's "Dictionary of Painters." 



As an inscription written in the lower right-hand corner of 
the picture testifies, this lady was " daughter to Charles, Duke 
of Somerset," the sixth of his house, popularly known as the 
"Proud Duke of Somerset." She was the wife of Sir W. 
Wyndham, Bart. 

In front of a dark curtain and the suggestion of a tree and 
of dull slaty sky the figure faces us in a robe of ruby velvet, the 
body of which is formed by two folds, overlapping at the waist 
and displaying in their angle a lawn chemise. The sleeves are 
loose, and caught up in pleats over a full undersleeve bordered 
with a flounce. The lady's left hand rests on a plum-colored 
cushion, decorated with a border and tassels of silver bullion, 
while her right arm is extended downwards with the hand spread 
out in a gesture of affected elegance. Her head inclines slightly 
towards her right shoulder, surmounted by dark hair which is 
brushed close and gathered into a knot behind the left ear and 
at the back of the neck. A soft wisp strays over the brow and 
another appears coquettishly on her right shoulder. 

Height, 32 inches; width, 28 inches. 
From the Collection of the Duke of Buckingham and Chandos, Stowe. 





In the lane, through the park, a woman in a red dress 
looped up over a brown petticoat, with a basket on her arm, 
stands talking to a man who sits upon a white horse. A black 
dog, with white muzzle, stands to her right, and in front of the 
horse are clustered some sheep. Others have straggled ahead 
and arc standing in a little pool of shallow water, while three 
are moving almost at the end of the lane, beneath an arch of 
two trees, which frame in a distant view of brown roofs. On 
each side of the roadway is a sloping bank, covered with grass 
and fern, and crowned with clusters of young beech trees. 
Three stems are prominent on the right, backed by a wooden 
fence, over the top of which is a thick growth of trees. The 
path is barred with alternate light and shadow. 

Height, 28 inches; length, 36 inches. 




A white cottage, with thatched roof projecting upon 
brackets over the casement, stands on the right of the picture ; 
roses grow over it, and a mass of brown leafage overhangs the 
roof. In the doorway stands a woman with her baby, and by 
her side is a child blowing a trumpet. To the left of them 
a girl is hanging clothes upon a line. On the opposite side 
of the doorway a man stands watching a woman as she plies 
her flax-wheel. In the centre of the foreground a girl in 
crimson petticoat balances a basket on her head. Behind her, 
on the left of the picture, is a circular well-head, on which a 
rooster is perched. 

Height, 50 inches; length, 68 inches. 

1 -~ " I 

W A 



pra^ ^^ 

' k~ 

, fF / 


wm ^—\ \^^ %> 

fl Vm. Wv 


Kit. ^^M^^ ^ 

^H % 1 


^H^^h£» jOSt ' '^^1 


^Bd^r j€ 

^^H^^^^b ■■ S 

^^^^^^^^?Hk' ■ ^H 


^>^S< ^k^H iff * • i 

2^&«f^--- • 



The queen is represented full length, standing with her right 
elbow on a truncated column that is covered with a mauve silk 
cloth, embroidered and fringed with gold. On it rests her crown. 
With her left hand she lifts her crimson cloak, so as to reveal its 
ermine lining. It is worn over a loose silk robe of lapis-lazuli 
blue, that masses itself in free folds upon the floor. The robe 
meets low down upon the bosom, its edges adorned, like the 
chemise, with Flanders lace, while the open sleeves are caught 
together with jewels over the white silk under-sleeve, which is 
looped up to the elbows. The face is crowned with clusters of 
black curls, a big one allowed to droop over each shoulder and 
a tight little twirl adorning each side of the forehead. Pearls 
depend from the ears and are strung round the neck, and a large 
brooch is fastened on the breast. A toy terrier is gambolling at 
the base of the column. The figure is seen against a mass of 
olive-brown masonry, with a bush of crimson roses on the right, 
beyond which, in the distance, is a view of Windsor Castle, 
framed in by trees. 

The picture is chiefly the glorification of a superb costume, 
rendered, however, with an elegance and verve that represent 
the painter at his best. 

Height, 77 inches; width, 57% inches. 
Fito.M the Collection of Lord Hanelagh. 



The three children are grouped out of doors beside a steep 
bank, on which an apple tree grows among some bushes. On 
the left stands a little girl whose face and blond curls are 
framed in the large circular brim of a blue hat decorated with 
blue and white feathers. With both hands she holds up the 
skirt of her white dress so as to form a pocket, in which lie some 
apples. She wears a blue sash, while red slippers show below 
the long petticoat. To the right of her, the older of the two 
brothers, perched on the bank and holding to a bough, is handing 
down to her another apple. He is dressed in a dull crimson 
suit with a large white frill round the neck. The little boy 
is in act of climbing up the bank, turning his head at the 
moment to look to the front. His suit is of dull yellow, set 
off with a blue sash. On the left of the foreground a white 
hat with a band of blue ribbon lies upon the grass. 

Height, 92 inches; width, 58 inches. 
From the Collection of Mrs. Daves. 

^, - -' >^ 


^V . 


^B p fl 


. » 


^. — 


L "^ifi 


■ ' ■ 


1 * afl 

■ « 



^ ' 

■ i>a 




In this landscape, the largest that Collins ever painted, the 
horizon is piled with whitish cumulus, and the gray expanse 
above is streaked with shreds of distant rain-mist from a sooty 
overhanging cloud. The light falls variously over the landscape, 
which is intersected by a little river. In the foreground the 
water and the right bank are in deep shadow, and the cool green 
meadows, which stretch away to a great distance, are barred 
with pale yellow, while the opposite shore is bathed in warmth. 
On a log by the riverside a man in his shirt sleeves sits, baiting 
a hook, and behind him a woman and a boy, carrying sheaves, 
are approaching under the branches of a brownish-green tree 
on their way from gleaning in a golden wheat-field, where the 
harvest is being gathered up. The field is bounded by a hori- 
zontal strip of trees, among which a spire and red and white 
cottages appear. Beyond them the ground rises to a point and 
slopes gradually to the left, and in the farthest distance lies a 
range of hills. 

Signed near the utile, on the left, W. Collins. 

Height, 40 inches; length, 64 inches. 
From the Collection of Mb. Isaac M. Currie. 



Leopold Mozart, the subject of this portrait, father of the 
great composer, and himself a violin-teacher, visited England 
in 1764, when the boy genius was eight years old, and remained 
until late in 1766. By this time Zoffany, who had arrived in 
1758, was in great repute as a portrait painter. 

Seated in an alcove, from which stretches back a long 
salon of the old Kew Palace, the gentleman is seen full length, 
the left elbow resting on a table and the fingers held against 
the cheek. He wears a gray wig, smooth upon the top and 
rolled over the ears ; a coat of dark blue velvet, the edges 
bordered and cross-strapped with gold braid ; a stiff collar, and 
lace cravat hanging half way down the blue satin waistcoat; 
black velvet breeches and white silk stockings, and black velvet 
shoes with silver buckles. Among the various objects on the 
table is a beautifully painted violin. 

The figure is uniformly lighted with cool, clear light, but 
through the high windows of the salon, sunshine strikes in 
patches on the floor. Between the windows are console tables, 
with tall mirrors above them, which reflect the pictures upon 
the opposite wall, and in one case a window with a garden 

Height, 64% inches; width, 50 inches. 

From the Collection of General Mainwaring, The Old Palace, Richmond, 







On the left of the foreground are two slender trees, leaning 
towards the centre, while on the right rises a small mound 
crowned with a thicket of trees and bushes. Farther back lies 
a pool of water enclosed within irregular banks, and beyond it 
stretches a flat vista sprinkled with trees. The sky is gray, 
with flusters of creamy-white clouds. 

Signed at the right, R. A. Blakelock. 

Height, 6%, inches; length, 10 inches. 



Water Color 

Seen across a long stretch of water that reflects the orange 
and primrose hues of the setting sun, two campaniles stand up 
like sentinels, one on each side of the entrance to the canal. 
They are flanked by towers, roofs and domes ; San Marco and 
Santa Maria della Saluta showing faintly in pale purple shadow 
against the horizon. A white sail is just visible in the entrance, 
and to the right a rosy-colored one. The upper sky, gradually 
paling towards the zenith, is lightly streaked with rosy wisps of 
vapor. It is a charming little specimen of Mr. Bunce's very 
individual style. 

Signed at the left, Wm. Gedkey Bunce, Venice. 

Height, 13% inches; width, 9V 2 inches. 



On the right of the foreground is a slip of dark olive, grassy 
bank, beyond which a pool stretches to a handsome clump of 
trees. A meadow on the left, raised above the level of the 
water, extends to another group of trees, near which four cows 
are feeding. The horizon is misty, the whitish sky above being 
dappled with tufts of claret- colored cloud. Very sketchily and 
boldly executed, the little picture is exceedingly impressive. 

Signed at the left, W. Keith. 

Height, 10% inches; length, 21% inches. 



On the right a noble hickory rears up its tall, straight trunk, 
topped with a fine bunch of foliage. Its bark is beginning to 
peel off in lateral strips, as also is that of two smaller stems 
which lie across the grass and fern in the foreground. A little 
farther back, on the left of the glade, rises a knoll surmounted by 
two trees, whose slender trunks show against a bush of yellow 
leaves, opposite to which the sprinkled foliage of a young maple 
has turned to crimson. At this point the ground descends 
abruptly, and one sees, low down and extending to a great dis- 
tance, a level plain, spotted with a sheet of water, and bounded 
on the horizon by a gray, smoothly rounded hill. Above it the 
sky is pale and hazy, but mounts by degrees to the delicate blue 
of a thrush's egg. 

Full of the mellow quiet of an autumn afternoon, the 
picture in its color scheme, as bold as it is sensitive, represents a 
particularly beautiful example of this artist. 

Signed at the left, R. A. Blakelock. 

Height, 20 inches; width, 16 inches. 



A beech trunk lies in the foreground, and from it extends 
a stretch of grass, along which a woman in red skirt, followed 
by three children, is approaching a cottage. The latter, covered 
with white plaster, luminous in the warm evening glow, has a 
high-pitched roof, and a tall chimney built up from the ground. 
There is a cluster of foliage near it on the right, and on the 
opposite side appears a distant view of sunlit meadow, bordered 
with trees. The approach to this is narrowed by a bank on the 
left of the picture, which is crowned with trees. In its sweet- 
ness of color, richness of tone and truth, the picture worthily 
represents this genuine student of the simple countryside. 

Height, I ' inches; length, 17 Inches. 




This smaller picture represents, from a somewhat different 
point of sight, the same subject as in the larger landscape of 
the Warren Collection, recently dispersed. In the foreground is 
the same low wall surmounted by a wayside shrine. Beyond 
it on the left rises the steep declivity crowned with buildings, 
among which appears the temple of Vesta, near two poplars. 
At the right of the foreground is a sloping bank, on which the 
light strikes, smiting with particular brilliancy the white shirt 
of a man who stands by a reclining figure. Behind them rise 
a rock-pine and three small trees. In the middle of the pic- 
ture a level plain extends to a distant horizon under a grayish 
blue sky swept with white-rimmed clouds. 

The little canvas has the dignity of composition and sweet 
placidness of feeling that characterize the artist's more impor- 
tant works. 

Height, HY 2 inches; length, \~i x k inches. 




Water Color 

The subject represented is the procession of Agrippina with 
her children and ladies through the Roman camp, where the 
soldiers were in a state of mutiny. 

Agrippina, with a baby in her arms and a child clinging to 
the skirt of her robe, is represented in the centre, while behind 
her stand two maidens with linked arms, one of whom holds 
her hand over her face. A soldier kneels at her feet, and 
another, to his right, leans upon his shield, bowing his hel- 
meted head over his arm. On the left is a separate group, 
soldiers raising up their hands to heaven, a man straining forward 
with bent body, his head to his hand, and two figures kneeling, 
with their eyes fixed upon the central figure. 

The sketch is executed with a pen, and washed in with 
tones of sepia, pale rose and blue. 

Signed at the left, B. West, 1785. 

Height, 16 inches; length, 24 inches. 



Water Color 

Save for a little loop of land on the left of the front, where 
three tiny figures stand, the gray water stretches clear across the 
picture, extending back to a horizontal shore line. Here, to the 
left of the centre, are two white buildings near together, and to 
the right a single one ; all three reflected in the lake. Behind 
them succeeding ranges of hills slope down from right and left, 
stopping abruptly in a gorge which winds back through the centre. 
Beyond this rises a broad, high mountain. Quite indescribable 
is the delicate transparency of this little picture, so minutely 
refined, and yet so spacious in suggestion and grand in feeling. 

Height, 5 inches; length, 7 inches. 



Water Color 

In this exquisite little picture two figures are traversing the 
road on the left of the foreground, where a single ash raises its 
tall stem and spreads its tawny foliage against the sky. The 
road skirts the lake, which stretches back in a broad sheet of dull 
blue water, bordered on both sides by gently rising mountains. 
At the end of the lake the little town occupies the level shore. 
Immediately behind it is a wooded eminence with a building on 
the summit, and beyond it show successive ranges of pale gray 
and blue mountains. Most pure and delicate in color, mingling 
precision and broad simplicity, the picture has a charm of crafts- 
manship and suggestion of space and distance that are extraor- 

Height, 5 inches; length, 7 inches. 





This gem of rare value, executed in sepia, on vellum, is the 
original study for Raphael's picture of "The Entombment" in 
the Borghese Palace. 

On the background of rock is inscribed, in Hebrew charac- 
ters, the text from the Gospel commencing, " He went to 
Pilate, and begged the body of Jesus. ' ' Joseph of Arimathsea 
is seen at the head of the hewn tomb, with his hands under the 
Saviour's armpits, as the disciples Peter and John lower the 
body by means of a white linen cloth. In the foreground 
the Magdalen kneels to kiss the feet, her hair streaming on 
the ground. Beyond the figure of Peter, on the left, a woman 
stoops beneath the Christ's arm, which she has passed over 
her shoulders, holding His hand in hers. Behind her, another 
woman sustains the drooping form of the Virgin. 

Notwithstanding the smallness of the figures and the free- 
dom of the brushwork, the character of each person, his or her 
share in the incident, and separate kind of emotion are rendered 
with a completeness and a degree of reverential tenderness 

indescribable. In the grandeur of suggestion, also, the diminu- 
tive scale is forgotten. 

Height, 6 inches; width, 5^ inches. 

With the engraving, 
engraved by volpate. 

Formerly in the Collection of Sir Thomas Lawrence. 

Exhibited at toe Yorkshire Fixe Art Exhibition, York, 1866, by J. Mason*, 
or York. 

From the Collection of Mr. T. Brown, Headingly, Yorkshire. 



Water Color 

Mrs. Keevil Davies was an intimate friend of Ruskin's, 
who had known her since she was twelve years old. The por- 
trait was painted about 1873, at Brantwood, Coniston Lake. 

The lady's face is represented in profile against a pale blue 
background stippled with white. The dark hair, except for a 
few little wisps over the forehead, is drawn up into a roll at the 
top, garnished with a black bow set on lace, and hangs at the 
back of the head in an ample chignon. On the black velvet 
round her neck are two rows of turquoise; and from a chain 
threaded with turquoise a cross is suspended on her bosom. 
The bodice is of a deeper blue, cut to a V in front, with edgings 
of lace. The prevalence of blue in this picture recalls the fact 
that, in his lectures at Oxford about the time in which this pic- 
ture was executed, Ruskin would habitually wear a bright blue 
necktie, which was in lively contrast to the rusty green of his 
cap and gown. 

Signed three times at the right. 

Height, 19% inches; width, 12% inches. 






The subject represented is the incident of the feast given 
by Simon the Pharisee when the Magdalen washed the feet of 
Christ with her tears. 

The table is set under a portico, across the ceiling of which 
a dull purple velarium is hanging, and beyond this immediate 
foreground appear various structures of classical design. The 
Christ, seated at the head of the table on the left, has raised one 
hand in admonition, and with the other is pointing to the Mag- 
dalen, who kneels across the front. His head, surrounded by a 
luminous aura, is turned towards His companion at the feast. 
One of these has a goblet raised in his left hand, and a napkin 
held fastidiously in the other, while an older man at the Christ's 
side pauses in his eating, holding a fork in the air as he sternly 
and intently listens to the words of the Man who undertakes 
to forgive sins. At the right end of the table a youth leans 
forward, as if about to offer a napkin to the Magdalen. 

Signed at the right, Riccius fecit, 1713. 

Height, 19% inches; length, 23% inches. 
From the Collection of Sir Henry G. P. Bedingfeld, Bart. 





The head faces three-quarters to the left, surmounted by a 
high-crowned felt hat with broad, curling brim, while the bust 
is in profile. So much of the costume as is visible shows a white 
muslin stock, protruding in a bunch below the chin, and a drab- 
green redingote with large roll-over collar, and a band below the 
bosom. Soft wisps of hair lie over the forehead, and the face, 
with its rosy cheeks, has a pleasant, happy expression. The 
background is of light olive green, and the color scheme of the 
whole picture plays upon tones of green in union with the flesh 
tints and white cravat. 

Height, 17% inches; width, 14 inches. 
Fhom the Collection of the late Mr. A. W. Bennett. 




Executed on a white ground, in imitation of bronze bas- 
relief, a style for which this artist was celebrated, is a proces- 
sion of infant Bacchanals approaching a bust of Priapus, which 
surmounts a pedestal on the left. One of the nine holds up a 
thyrsus, which two are running forward to seize, while another 
on the right of them carries a garland. Behind him is a band of 
four engaged in a struggle, two of them having fallen to the 
ground. At the end of the procession marches one who holds a 
staff entwined with ivy and surmounted by a fir cone. 

lleiyht, 17 inches; length, 31 inches. 




This is a companion picture to the preceding one, and con- 
tinues the procession. Two figures move at its head, one carrying 
a bunch of grapes, the other a thyrsus. Two others follow, 
blowing upon curved trumpets. Succeeding them are two who 
bear aloft a cup, and behind them are three figures, dancing, 
with linked arms. 

Height, 17 inches; length, 31 inches. 




The yellow surface of the sunlit meadow, sprinkled with 
haycocks, is spotted with the dark green foliage of apple trees 
and their attendant shadows. Behind a haycock on the right of 
the foreground two youngsters are in hiding, while a third 
approaches in the centre, hesitatingly, and with hands extended. 
The real feeling of out-of-doors pervades the scene ; the drawing 
throughout is excellent, and the picture is an interesting record 
of a painter whose already signal achievements were cut short 
by a too early death. 

Signed at the right, Wm. Bliss Bakeb, 1881. 

Height, 22 inches; length, 30 inches. 
Mentioned in Champlin & Perkins' " Cyclopedia of Painters and Paintings." 




Crusty brown rocks rise on the left of the foreground of 
sand. Here lie three boats in echelon by the water's edge, a net 
hanging over the side of the front one. The smooth sea, a 
sheet of turquoise blue, spotted by a single white sail, stretches 
back to a horizon streaked with red. Over it is a belt of small 
billowy clouds, and above these a reach of greenish gray, grow- 
ing bluer towards the zenith. The sky is particularly good, and 
the color throughout the picture fine in quality. 

Signed on right lower corner, G. Couebet. - 

Height, 19 inches; length, 28 inches. 



A spot of verdure is encircled by mountains which tower 
up abruptly on the right, in shadow, but at the back glow softly, 
buff and mauve, in the sunshine. Down a zigzag cleft in the 
face of them a torrent leaps ; its water, when it has gained the 
level, flowing through a lawn of sunlit grass sprinkled with 
trees, and broadening out at the left of the foreground into a 
pool that reflects the pure blue of the sky. On the farther 
bank is a group of four girls, one of them approaching the edge 
with a water jar on her head. In the foreground, on the left, 
an apple tree bends its branches, laden with fruit, to the ground ; 
and near it, on a rock spread over with white draperies, sits a 
girl in white, offering an apple to a figure that bends forward 
with a lowered torch in hand. There are four attendants, one 
of whom carries a basket. The landscape is very sweetly im- 
agined in pure, limpid coloring. 

Height, 18 inches; length, 33 inches. 





In front is a stretch of shallow water, to the left of which 
a youth in red coat is stepping over a narrow board causeway, 
at the same time steadying the seat of a girl who is riding a 
white horse through the water. On the opposite bank lie gray 
boulders of rock, excellently painted, and near them is a group 
of animals. A white cow turns her head back towards a don- 
key, and three sheep and another cow have just emerged from 
the water. A little farther back a red cow is starting to trot 
up the road, which mounts between two rocky banks covered 
with bushes and spanned by an arch. The latter leads to a pile 
of buildings on the left, with red roofs and a bell-turret. Be- 
yond the edge of the rocks on the right appears a perspective of 
plain, extending to a pale blue horizon. 

The picture, an example of the conventionally conceived 
landscape, has considerable charm of composition and color, and 
offers some passages of accomplished painting. 

Height, 23% inches; length, 31 inches. 


About 1590— Between 16C2 and 1664 

The subject of this portrait is the Princess Elizabeth, 
daughter of James I. of England. Her children were the two 
princes Rupert and Maurice, and Sophia who married the Elec- 
tor of Hanover and became the mother of George I. She is 
commonly known by the title of Queen of Bohemia (1596- 

The figure is shown to a little below the waist, slightly 
inclined towards the left. A black cap, with high round 
crown and flapping brim that widens at the back and hangs in 
a deep valance, surmounts the brown hair, which is frizzed and 
puffed over the ears. The face is delicately modelled in pale, 
ivory-like tones, faintly rose upon the cheeks; and the eyes, 
which glance straight out of the picture, are brown and limpid. 
Over the tight-fitting black silk dress is a stiff white tippet, 
fitting close to the neck in a band of black silk, cross-laced with 
black over the breast, and spreading across the shoulders. The 
portrait is exquisitely refined in tone and in expression. 

Height, 30 inches; width, 25 inches. 
Signed at the left, near centre, Cornelis Jaxssens van Ceulen. 


1796-About 1831 

Two cows are standing, near the front, in a road which 
curves back between hedges and trees to a brick cottage with 
steep roof. Half way back a man and boy stand talking to a 
woman who sits on the left of the road under a group of beech 
trees yellowed by autumn. The bank on which they grow 
slopes gently down to flat meadow-land, with water showing in 
the foreground, a row of willow trees in the middle distance 
and, beyond them, a level vista reaching to the horizon. 

Height, 24 inches; length, 30 inches. 


Died about 1778, at an advanced age 


With acceptable sentimentality, because she lends herself to 
a very decorative picture, the lady sits with her head inclined 
towards her left shoulder, the cheek touched by her fingers, 
while her elbow rests upon the arm of the chair. Her head- 
dress is of soft white material, draped in turban fashion over 
her dark brown hair, threaded with pearls, and hanging down 
her neck. A cloak of delicate rose velvet, edged with ermine, 
droops from her shoulders, and the gown is worn very low upon 
the breast, the bodice being formed of dove-gray silk, folding 
across the figure and fastened with a large garnet brooch, from 
which depend two strings of pearls. The edge of the bodice is 
softened with a lawn frill, and loose sleeves of the same material 
reach to the elbows. This exceedingly dainty color scheme is 
contrasted with a background of golden brown. 

Signed at the right, A. Carpentiers, p. 1762. 

Height, 30 inches; width, 25 inches. 



The landscape, rich in tone under the glow of the late 
afternoon sun, presents a familiar scene of rural beauty, distin- 
guished, however, by the unusual feature of a ruined church. 
The latter is on the right of the middle distance, a background 
of golden- brown and green oaks softening the jagged outline of 
what is left of the tower : one side, and a fragment of the retain- 
ing wall and of the chancel end with its empty window. Close 
against this nestles a low, thatched cottage, by the side of which 
is a gate leading into a meadow, where another cottage shows 
among the trees. Three ducks are swimming in a pool at the 
right of the foreground, and from the centre stretches back a 
winding road. Presently it is crossed by a bar of yellow sun- 
light, and here a woman walks beside a pack- donkey, making 
her way towards a farmhouse with tall red chimney that lies in 
the distance, framed in with trees. The sky above the horizon 
is slaty-hued, with rooks winging their way home across it, and 
higher up passes to gray, which grows to warm cream as it 
verges on the pale blue of the zenith. 

The picture, so true to nature, pure in color and of luxu- 
rious tonality, executed with a mingling of breadth and finish, 
is a particularly pleasing example of the Norwich artist. 

Signed at the left, J. Cbome. 

Height, 30 inches; width, 25 inches. 




A precipitous wall of rocks fills the background, except for 
a little patch of light high up on the right. The gray boulders 
are green with moss and lichen, and embrowned with dry fern, 
and below them a path slopes steeply up towards the right. At 
the foot of the ascent a figure in scarlet appears in front of four 
slim birch trees, leaning forward, as if watching for the arrival 
of some one. On the opposite side of the foreground a stream 
purls along its stony bed, and on the bank above it springs a 
single large beech trunk. 

Signed at the right, G. Dore. 

Height, 33 inches; width, 25% inches. 




On the death of the fourth Earl of Roxburgh, in 1805, 
without surviving issue, James Innes-Ker laid claim to the 
earldom, on the strength of his great-grandfather's marriage to 
the granddaughter by a second marriage of the first Earl of 
Roxburgh. In 1812 the House of Lords granted him the title. 

The body is shown full front, nearly to the waist, clad in a 
double-breasted black coat, buttoned up to the white cravat, that 
is tied in a little bow. The strong head, painted with unusual 
breadth and certainty, is covered with short gray hair ; gray 
eyebrows surmount the deep-set eyes, and the face is firmly 
moulded and fresh in color. The figure is seated in a red-backed 
chair against a dark olive background. The portrait represents 
a fine example of Raeburn's art, forcibly direct in characteriza- 
tion and virile in execution. 

Height, 30 inches; width, 25 inches. 



From under the frill of a close white cap a few brown 
ringlets show around the forehead. The cap is fastened under 
the chin with a band of lace, framing a sturdy face which has 
heavy-lidded blue eyes, a long nose with fine nostrils, and a 
firm mouth. A red shawl hangs over the sleeves of the tightly 
fitting black bodice. The figure is sitting three-quarters to the 
right, the head inclined to the front and the eyes gazing full 
from the canvas. 

Height, 30 inches; width, 25 inches. 




The ceiling and its cross beams, and the walls decorated 
with three landscapes in black frames, have a prevailing tone 
of olive drab; the deepest shadow lying in the large chimney 
corner on the right, which is surmounted by a high shelf with 
a row of pewter plates. Near the foreground, beside a table 
covered with a scarlet cloth, on which rests a blue and gray 
jug with pewter lid, stands a lady with her back to us. A 
round cap of pale rose silk is set at the back of her blond-gray 
ringlets; a broad white bertha, edged with lace, covers her 
shoulders, and her black silk gown is looped up in panniers 
over an old-gold underskirt. The bertha catches the highest 
light, which also illuminates the white cap and apron of a lady 
who sits in the centre of the picture, looking up from her needle- 
work, which lies on a black cushion on her lap, to talk to the 
visitor. In the background, to the right, two little girls sit 
facing each other, also engaged in needlework, while a third 
stands behind, watching them. In the foreground, to the right, 
is a leather-backed chair, over the seat of which hangs an olive- 
green cloak. 

Height, 24% inches; length, 28 inches. 
From the Collection of Lord Northwick. 




Buildings with gray-green walls and reddish roofs stand 
on both sides of the picture; the water stretching between 
in a narrowing vista, bounded in the distance, where the canal 
makes a turn, by a horizontal line of houses and towers, softly 
outlined against the greenish-blue sky. The scene is alive 
with shipping and gondolas. One of the latter, propelled by 
two gondoliers, is crossing in front of the picture, and a little 
back of it lies a small vessel from which a man has j ust landed 
in a boat. He is mounting the steps which lead to the quay, 
upon the right, where figures are grouped beside a house that 
has two arched windows with open shutters, one above the 
other, a woman appearing on the balcony of the upper one. 
Beyond this shows a dome surmounted with a cupola, and some- 
what farther on the quay projects in a little point on which 
stands a low building like a lighthouse. The picture is beau- 
tiful in color, with truthful rendering of the aerial perspective, 
and presents a characteristic example of Canaletto's skill in 
architectural portraiture. 

Height, 21 inches; length, 31 inches. 
From the Collection of Miss Kixcaihd. 




The subject of this beautiful portrait is the painter Richard 
Evans, who reciprocated the compliment by painting a portrait 
of Lawrence, now in the National Portrait Gallery, London. 

He is represented as far as the elbow, facing to the right, 
wearing a reddish-brown velvet surtout with a broad collar of 
brown fur. Round his neck is wound a white cravat, fastened 
in a little bow. The face is inclined to the front, the eyes 
glancing towards the left; the flesh tints are clear and fresh, and 
the expression of the features at once spiritual and manly. The 
soft golden hair is parted at the side and brushed over the top 
of the head in waves, which encroach a little upon the forehead. 

Height, 30 inches; width, 25 inches. 
Fhom the Collection of W. G. Galloway. 



A familiar feature of English country life is the carrier's 
cart which makes periodical visits to the neighboring market 
town. Such a one is shown in the picture, hooded and drawn 
by a chestnut and a white horse, returning home at sunset. The 
road is narrow, coming round from behind a rocky bank on the 
right, and overarched by an ash tree on the opposite side. The 
foreground presents a mingling of mellow brown tones, while 
the sky is a greenish blue, with masses of white cloud; the 
whole scene being penetrated with the softly palpitating warmth 
of a summer evening. 

Height, 30 inches; width, 24 inches. 



The mountain, "Arthur's Seat," as the Welsh name im- 
plies, is seen in the distance, rosy and yellow in the sunshine, 
the tints growing fainter as the ridges recede against the pale 
gray primrose sky. The broad plain is intersected by a stream 
which is crossed in the middle distance by a wooden bridge set 
on stone piles, and in the foreground rushes, foaming and blue, 
between slabs of drab rock coated with brown weeds. To the 
right is a bright patch of yellow ground, out of which crops a 
formation of rocks, like ruins. Along a distant road, on this 
side of the picture, two horsemen are galloping, and two figures 
appear on the rocks on the left of the foreground. The picture 
is excellent in perspective, with considerable charm of color and 
atmospheric effects. 

Signed at lower right corner, J. B. Pyne, 1846. No. 184. 

Height, 22 inches; length, 33 inches. 
Fbom the Leetham Collection, York. 



The background, enclosed in an oval mount, is of a drab- 
olive tint, against which the lady's face is seen in profile under a 
black beaver hat that has a tuft of black feathers in front of 
the crown. Her dark brown hair is gathered into a bunch of 
curls at the back of the neck. She wears a white neckcloth 
and a drab cloth jacket, with the top button unfastened, showing 
white silk lapels and a mouse- colored velvet collar. She is 
seated in a crimson-backed chair, studded with nails, her right 
hand, of delicate beauty, resting upon a brown leather-covered 
book that stands open upon her lap. 

Height, 30 inches; width, 25 inches. 


About 1827-1886 


The picture shows one end of the gallery and a small part 
of its barrel- vaulted ceiling, while through the entrance in 
the centre, screened in its upper part by a handsome grille, 
appears a farther gallery, flooded with light. The entrance 
is surmounted by two sculptured nymphs supporting an 
emblazoned cartouche, and in the semicircular space above 
them a mural painting is dimly visible. Standing near a 
window on the right of the room is a lady in the crinolined 
costume of 1864, while on the left of the foreground is a gilded 
console table, bearing a statuette. 

Signed at the left, B. Navlet, 1864. 

Height, 36 inches; width, 29 inches. 
Mentioned in Champlin & Perkins' " Cyclopedia or Painters and Paintings." 




The figures are disposed in a band across the picture, 
mostly in light against a dim rich background of wall, with a 
columned entrance to a farther room; while overhead the 
ceiling is draped with a grayish-green velarium. In the centre 
of the group is a lady in a short golden-brown dress with full 
skirt, that she slightly lifts as she extends her hand to a man 
in shabby black suit, perhaps an author, who holds his hat 
behind his back. To the left of these figures an actor in full 
curly wig, with a crimson drapery across his body, extends his 
hand towards the visitor, turning at the same time to a lady 
on his right, as if to introduce her. She stands behind a table 
on which rests a bowl of fruit, towards which one hand is 
stretched, while the other is placed on her breast. On the 
right of the composition is a row of musicians, ranged beneath 
a sculptured composition of two figures that surmount a marble 
slab supported by caryatides. In front of this group sit two 
ladies, one holding a sheet of music, the other playing on a lute. 
In front of the table a servant in black livery is on his knee, 
taking wine from a cooler, and at a doorway back on the left 
the call-boy's face shows round a curtain. 

Signed on the cooler, at the left, \V. Hogarth f. 

Height, 3-2 inches; length, 36 inches. 






On a brown wooden cross, stretched diagonally across the 
picture, the Child's body is laid asleep, the arms folded over the 
breast. The clear flesh tints and soft yellow hair are shown 
against a dark yellow background. It is a curious subject, 
represented with a mastery of drawing. 

Height, 26 inches; length, 35 inches. 

From the Collection of Mr. James Dole, Redland House, Durdham Park, 
Westbury-on-Trim, Gloucestershire. 

Exhibited at the Bristol Art Loan Exhibition, 1893. 




The brown boughs and foliage of an oak spread across the top 
of the picture, allowing a view of sky of robin s-egg blue with 
white clouds. Roofed by the tree, the inn occupies the right half 
of the composition; the sign of the dragon appearing on a board, 
attached to the drab wall. Through the open door a woman's 
form is visible, moving away ; while outside, a little child stands 
by a sleeping spaniel, and the buxom daughter of the house is 
serving beer to a traveller, probably the owner of the pack- 
donkey which is waiting in the centre of the road. A child 
stands beside the man, and on his other side is a laborer, hold- 
ing a pipe to his mouth. In the shadow on the left of the 
foreground is a tall wooden pump. The picture is warm and 
luscious in color, with extremely handsome arrangement of light 
and shade, offering an unusually fine example of Morland's art. 

Signed at the right. 

Height, 27 inches; length, 36 inches. 
From the Collection of I.ieut.-Col. William Whetiierly. 






Near the centre of the front a boat is rising to a wave, 
which breaks in spray over its bow. In the fore part a sailor in 
red cap is holding the sheet of the bellying sail, while in the 
stern three disciples kneel with hands extended in entreaty 
towards the Saviour, asleep with His head resting on His hand. 
Behind Him is another figure, with hands together in prayer. 
The olive-colored water rocks up and down, brown in the hol- 
lows, and with silver flickers of foam on the tops of the waves. 
Its movement is magnificently rendered, and with a purity and 
vigor of color thoroughly characteristic of the young Van de 
Velde, the best marine painter of the Dutch school of the 
seventeenth century. Some distance off, on the left, a two- 
masted vessel is visible, with mainsail spread; and still farther 
off, to the right, a three-masted ship heels over before the wind. 

Dark olive clouds, surrounding a lighter surface, fill the left 
of the sky, which towards the right is broken up into drab and 
creamy clouds with a trace of blue. 

Height, 23V6 inches; length, 33% inches. 

Feom the Collection of Me. Samuel Hague Stanley, Low House, Ilkley, 




The figure is shown to the waist, the left hand being 
slipped into the open front of the coat, and the right arm 
extended to the edge of the frame, as if the hand, which is not 
visible, were resting on a cane. The pose is three-quarters to 
the left, with the head, however, inclined to the right, and the 
eyes glancing in the opposite direction. The powdered wig on 
each side of the parting rises in crisp rolls, which are continued 
at the sides, and terminate in loose curls on the shoulders. The 
coat of deep blue velvet, lined at the turnover of the collar and 
cuffs with old rose, is fastened at the waist, leaving visible, in 
the interval above, a strip of white shirt. White ruffles with 
lace edging hang below the cuff, and two long bands of lace 
form the cravat. Behind the figure is a mass 'of reddish-brown 
masonry, with a slim tree-stem to the right ; and farther, green 
trees under a warm gray sky, which has a glint of blue at 
the top. 

The picture, despite a little affectation in the pose, is a fine 
example of the portraits of that period, being painted with dis- 
tinguished skill. 

»e ■ 

Height, 36% inches; width, 31 inches. 
From the Coixectiox of Mr. K. R. Murchison. 



Very charming in its simple grace is this portrait of a lady, 
the head and bust turned slightly to the left, before an olive-drab 
background. Her thin white gown, of Empire design, clings 
closely to the bosom and to the cushion of the shoulder, and a 
mantle, dull brown in the shadows, falls from her right shoulder 
across the left arm. The face is of an old ivory tone, with black 
eyebrows, large dark gray eyes, delicate nostrils and long upper 
lip. On the crown of the head the golden-brown hair, parted 
in the centre, lies in soft waves, with ringlets at the side, and at 
the back in a roll from which a loop descends upon the neck. 
In the ear is a hoop of gold. 

Height, 25 inches; width, 21 inches. 




This artist, during his long career, painted the portraits of 
many celebrated men, among them more than one of Words- 
worth. There is one in the National Portrait Gallery in Eng- 
land, executed evidently at about the same time as the present, 
for the expression of the head is precisely similar, though the 
arrangement differs, the figure being full length and facing in 
the opposite direction, while the costume varies. 

In the present portrait the figure is shown half length, 
facing three-quarters to the right, but with the head, as in the 
other portrait, slightly bent forward, evidently a characteristic 
gesture. A brown cloak with broad velvet collar hangs over the 
suit of black broadcloth. Above the high forehead the soft white 
hair is drawn carefully over the top of the head, a darker wisp 
curling over the right temple, while the hair whitens again above 
the ears, below which are trimmed white whiskers. The eyes 
are fixed in an earnest, tender gaze ; the nose is long and sensi- 
tively modelled, with a fine receding curve of the nostril, and the 
under lip projects a little from the sweet, placid mouth. The 
beautiful face, so benignant, grave and kindly, has been studied 
and rendered with most affectionate discernment. The portrait, 
indeed, is one of very choice and peculiar charm. 

Height, 30 inches; width, 25 inches. 
With the engraving. 
It has been engraved by J. Skei.ton. 
Exhibited at the Royal Academy, 1851. 
From the Collection of Major Behson Habhison, The Grange, Leamington. 


About 1790-1868 

Handsome trees shade the sidewalks on each side of the 
street, casting a checker of light and shade on the rows of 
houses. Those on the left of the picture are sufficiently near to 
allow of the details being visible, put in with delightful breadth 
and fulness of suggestion. Under the trees on this side two 
striped awnings are spread, beneath which sit gayly dressed 
women. Farther back a market woman is approaching on a 
mule, her tall white cap making a conspicuous spot, as do many 
other similar caps, sprinkled among the crowd at the end of the 
street. Here the houses converge, with a view beyond of two 
church towers and a smoothly sloping hill. 

The whole scene is pervaded with a quiet effect of after- 
noon sunlight, and is represented with sympathetic appreciation 
of its character and charming spontaneousness of manner. 

Height, 28 inches; length, 36 inches. 
From the Collection of the Hon. A. E. Gathorxe-Hardy, M.P. 



This strikingly handsome picture, so rich and luminous in 
color, represents the head and bust of an Oriental, set against a 
dark olive-green background. The face is of ripe, tawny red, 
with dark brown hair ; large, lustrous brown eyes ; a short, broad 
nose; and full lips, parted. On the head sits a tall cylindrical 
cap of green velvet, enriched by two broad bands, respectively 
of gold and silver braid, the latter material being also coiled 
upon the crown. Over the bust is draped a silk blanket, striped 
with green, yellow, white and red. 

Height, 29 inches; width, 25 inches. 
Purchased from the executors of Miss Lucy Copeman. 




In the centre of the composition is a little creek, the snug 
anchorage for two fishing vessels that are moored, one alongside 
of a wall on the right and the other across the opening at the 
rear. Their hulls are fully revealed, for it is low tide, and only 
a shallow pool reflects the sky and the brown tones of a bank on 
the left. At the top of this stands a cottage with plastered 
walls and two brick chimneys, which has a little walled yard in 
which clothes are hanging to dry. Down by the water's edge a 
woman kneels before a tub, washing linen, and near her stands a 
man with hands in his pockets. Upon the opposite side of the 
foreground a brown sail lies on a wall, hanging to the ground, 
where two baskets and a besom lie. Farther back, on the right, 
rises in gradual slopes a yellowish-gray, grassy cliff on which 
three figures appear. In the centre of the middle distance is 
a peep of sea under a horizon wreathed in gray, above which 
mounts a large cluster of white cloud. The picture is rich and 
warm in tone, with fine suggestion of space and wholesome 

Height, 22 inches; length, 30 inches. 

Signed on left lower corner, A. Delacroix, 1834. 




When " The Spanish Marriage " (La Vicaria) was exhibited 
at Goupil's in 1870, Fortuny was little more than thirty years of 
age. It produced an explosion of enthusiasm and passed into the 
possession of the Marquis of Carcano. 

In the disposition of the figures and the general arrange- 
ment of the scene the finished picture shows no deviation from 
this original sketch. The color scheme also, when allowance has 
been made for the elaboration of the background of the sacristy, 
with its profusion of rococo decoration, is practically identi- 
cal; with, however, two important exceptions — the officer who 
stands with his back to the front wears in the sketch a scarlet 
coat, which in the final working out of the scheme was changed 
to cabbage green ; while a rose silk dress was substituted for the 
white costume of one of the attendant ladies. 

These very differences give a value to the sketch, illustrat- 
ing the artist's method of refining upon an idea which he had 
already realized with such vividness and assurance that he 
needed only to stand by it for a successful conclusion. 

Jleii/h/, 1:5 inches; length, 37 inehes. 
Fbom the Collection of Mr. A. L. Nicholson. 




From the golden yellow sand in the foreground, spotted 
with a dark crimson mass, the river, softened by haze, stretches 
back between its mountainous shores to a distant horizon. A 
burst of creamy light appears above it, shedding off flakes into 
the gray and blue of the surrounding sky. On the right of the 
river, in the distance, craggy mountains show faintly through 
the atmosphere, while nearer to the front rises a blocky mass of 
lavender and gray, under which a cathedral stands by the water- 
side. On the left of the foreground a zigzag wall mounts up 
the grassy slope, at the top of which, under some bushes, sit two 
figures. Beyond them rise a round tower and rampart walls, 
while in the middle distance a rock, which hangs precipitously 
over the water, is crowned with a pile of buildings, faintly seen 
against the sky. 

The picture, lovely in color, exquisite in its atmospheric 
qualities, breathes a spirit of romantic poetry. 

Height, 14 Inches; length, 17% inches. 
From the Collection of Professor Clifford Allbutt, M.A., Leeds. 




From a vessel which lies back on the right some men have 
rowed into a little basin of water under the lee of a high bank, 
and are engaged in unloading boxes and bales of contraband 
goods. One, with trousers turned up to the knees, stands back 
to us in the water, superintending the operation of moving a 
chest. Another stands half-way up the bank, passing a bundle 
up to a companion on the top. A seaman in white shirt and 
blue trousers kneels on the sand to raise a trunk, and near him 
stands another, with a bale upon his shoulders. Over the gray 
horizon the sky is brown and cloudy, with a glint of blue towards 
the right. 

Height, 28 inches; length, 36 inches. 
Signed on sack over man's arm, on the left, G. Norland, 1796. 



A boy in red tunic is seated on the ground with his left 
hand laid on the top of a large wicker cage, in which a bullfinch 
perches. The costume fits tight over the body and is trimmed 
down the front with three rows of buttons. A white frilled 
collar encircles the neck, from which hangs a loop of narrow 
black velvet, supporting a little cross. 

Height, 30 inches; width, 25 inches. 



The vista of water, stretching from a dark bank in the fore- 
ground, is divided by a bridge of land that crosses from a tall 
tree-stem on the right of the picture to a ruined tower and mass 
of foliage on the left. Beside the tower stands a woman, whom 
a man, leaning on a stick and accompanied by two children, is 
approaching. Across the farther reach of water is a low shore 
with houses, trees and a dotting of white objects. Above 
the slaty gray horizon mount volumes of clouds, creamy on the 
upper surfaces, where they form round an open space of blue. 

Height, 28 inches; length, 32 inches. 
Fhom the Collection of John Bihby, Liverpool. 




The mother and her young ones occupy the centre of a 
wooden, thatched-roof sty, over the low door of which appears 
a glimpse of blue sky and white clouds. Rearing her forepart 
on her legs, she looks sleepily out of the corner of her eye, 
while her fat body, creamy and pink in color, with two soft and 
sooty patches, reclines in the golden straw. One of the little 
ones is seen under the mother's head; another lies in front of 
the group with its nose in the straw; a third nestles close up 
to the sow; and the last, a blackish fellow, roots for sustenance. 
In the left corner of the composition is a wooden bucket. The 
picture, with its luxurious lights and shadows and resonance of 
tonality, represents this erratic artist at his best. 

Signed at the centre, G. M. 

Height, 28 inches; length, 36 inches. 

From the Collection of W. H. Forman, Callaly Castle, Northumberland. 



The cornfield is divided by a path which leads back to the 
entrance of some private grounds, where the house is seen amid 
its lawns and shrubberies. On the left of the path the corn has 
been loaded into two wagons, and the harvesters are gathered in 
the foreground at their lunch. Opposite the group two women 
are gleaning, and a child stands near them with a bundle on her 
head. Above the bank which skirts the left of the field is a 
view of flat meadows, lighted with a pale glare, while a small 
rain-shower breaks over the hill in the background, where cot- 
tages dot the slopes and two windmills the summit. The light 
bursts through the clouds in the centre of the sky and bathes 
the cornfield in warmth. 

On a red strip, low down on the canvas, is written — "Lord 
Viscount Nevill, Bough Apton. ' ' 

Signed at the right, Alfred Staxnard pinxt. 1830. 

Height, 26 inches; length, 40 inches. 




On a long table extended across the picture are spread some 
large gray fish and crabs, behind which stand a small oyster 
barrel and a stack of brass bowls, set one upon another. On the 
barrel lies a fillet of fish, showing the rosy-colored flesh, and from 
the side of one of the fish protrudes the pink sound. The color 
scheme is, thus, a very handsome one of gray, rose and olive 
black, in which the various objects are depicted with mastery 
and truth. 

Height, 31 inches; length, 42 inches. 






The architectural setting is by Van Deelen, the figures 
by Van Herp. In the foreground, supported by Corinthian 
columns, is a lofty portico, projecting from a church on the 
right. Near the door sits a beggar, and on the paved floor a 
lady in amber-colored gown with a greyhound by her side is 
talking to a gentleman in red. Behind them the edge of the 
portico is crossed by a balustrade, bordering the street, on 
the opposite side of which stands a large church front. Down the 
left side of it runs a narrow street, leading to a walled-in mass 
of buildings, surmounted by a tower. On the left of this street 
is an immense arch, under the curve of which appear other 
structures and the blue sky. The streets are animated with 
figures, single and in groups. 

The picture is a good example of a painter whose works 
are rare. 

Height, 33 inches; length, 18 inches. 


Exhibited between 1821 and 1862 

The scene is a little chine of brown rocks, interspersed with 
shrubs and verdure, at the bottom of which water flows in a 
zigzag stream, while the flattened reeds in the foreground show 
how far its fuller stream has encroached. Half-way up the left 
bank is a small plateau of grass, where a man in a red waistcoat 
sits upon a beech trunk. On the higher ground above him is a 
row of three stone cottages with thatched roofs, the one at the 
right being built over a hollow from which the water flows. On 
the opposite side of the ravine another stream bubbles down 
from a slit in a stone embankment, on which the figures of 
three fishermen show in silhouette against the lavender mass of 
a distant hill. 

Signed at the right, F. Watts. 

Height, 37 inches; length, 44 inches. 


(Real name, JACOPO ROBUSTI) 



The portrait represents a man of ruddy countenance, with 
short brown hair, and mustache and beard, slightly grayed. He 
is shown half length, facing three-quarters to the right. The 
hands are painted with fine decision ; the right one, which hangs 
down, holding a drab glove, and the left, carried above the level 
of the waist, pointing downwards. A white collar shows under 
the stiff standing collar of his crimson robe, which is edged 
down the front with narrow black fringe and has large pen- 
dulous sleeves. 

In the right top corner of the canvas is the inscription — 
Andreas Mauroc 02 Vix. Ann. LX. Mens. III. 

Height, 40 inches; width, 35 inches. 


(Real name, GASPARD DUGHET) 


On the left of this handsome composition is a bank in 
shadow, round the edge of which a road winds towards the 
front. A figure, wrapt in a blue drapery, is approaching with 
four goats, and on the right of the roadway sits a man in a red 
cloak, playing on a pipe. From the bank upon the left rise two 
ash trees, spreading their tufts of brown foliage against the sky. 
Between their trunks appears a small lake, the farther shore of 
which rises in wooded tiers, covered with crag-like ruins. At 
its base, in the centre of the picture, nestles a monastery, whose 
long roof and tower show against the distant mountains. In 
the middle distance a clump of chestnuts stands upon the right 
margin of the lake, and to the right of them is a glimpse of 
water curving into the hollows of a hilly coast. 

Height, 30 inches; length, 41 inches. 
From the Collection of Sir James Barran, M.P., Leeds. 




Extending .across the garden scene is a semicircular colon- 
nade, or pergola, of massive stonework. It is supported upon 
arches and surmounted in the centre by a group of sculpture, 
from under which a sheet of water falls into a large round basin, 
the parapet that surrounds it curving into the foreground. The 
latter is animated with figures. On the right a lady holds out 
her hand to a little boy who runs towards her, with a dog racing 
behind him; near the centre is a group of two ladies and a 
gentleman, while to the left a lady stands by a seated figure, and 
on the parapet sits another with its feet in the water. In the 
background smooth hills slope down from each side, forming a 
broad V in the centre, through which appears the distant view 
of peaked mountains, blue and buff under a warm creamy sky. 
The dignity of the scene is much intensified by a broad shadow 
across the left foreground. 

Height, 25 V2 inches; length, 42 inches. 
From the Collection of Mr. Wyxn-Ellis. 




The scene of this picture realizes the lines of Byron in 
' ' Childe Harold, ' ' canto iv. , stanza clxxix. : 

" Upon the watery plain 
The wrecks are all thy deed, nor doth remain 
A shadow of man's ravage, save his own. 

The vile strength he wields 

For earth's destruction thou dost all despise; 

Spurning him from thy bosom to the skies, 

And send'st him shivering in thy playful spray 

And howling to his Gods, where haply lies 

His petty hope in some near port or bay, 

And dashest him again to earth — there let him lay." 

On the fore shore lies a body, and across the stretch of rollers 
a ship is wrecked upon a craggy reef. Behind it the sun is sink- 
ing, yellow in a flood of scarlet, over which hang brown slaty 
clouds, permeated by the glow. To the right of the vessel, 
breakers are dashing upon the base of a cliff that rears up in 
successive strata of rocks. Outlined against this a seabird with 
white body and black wings is swooping towards the body. 

Height, 28 inches; length, 36 inches. 
Fhom the Collection or Mh. C. F. Beckett, Hadley Wood, Essex. 




In the centre of the foreground a stream forms into a pool 
with rocky banks and a narrow outlet. The latter is in shadow ; 
so also the right bank and a large oak upon it, which rises out of 
a cluster of foliage. The light strikes the pool and bathes the 
meadows on the left, kindling into warmth a reddish maple and 
a greener one which stand prominently in the middle distance. 
Behind them is a background of lighted trees, and in the 
farthest plane a village with red and white houses. The sky 
is spacious and full of air, with a fluster of luminous white 
clouds scattered over the pale blue. 

Signed at the right, Julian Rix, 97. 

Height, 33 inches; length, 46 inchet. 



The lake shows at the left, bounded at the right and back 
by steep mountains. Two rock-pines stand on the right of the 
foreground, which terminates in a wooden landing stage, where 
a group is waiting for the boat. A white horse with a sack of 
meal over his back has its front feet on the boarding, and along- 
side stands a bay pony, ridden by a man who has a gray shawl 
wound round his chest and a blue bonnet on his head. To the 
left a girl in scarlet cape rests her basket on a post as she looks 
down to talk with a woman who sits on the floor with her back 
to us. Her tin can and wooden basket lie beside her, and a black 
dog thrusts his muzzle into her lap. To the left of the group 
stand a white and a brown duck. 

Signed at the right, J. F. Herring sen. 1851-5. 

Height, 35 inches; length, 45 inches. 




The subject of this portrait, born in 1601, was the daughter 
of Philip III. of Spain and wife of Louis XIII. of France. 
After the latter's deatli she was made regent during the minor- 
ity of her son, Louis XIV., and, with her minister Mazarin, she 
had to meet the troubles caused by the Civil War of the Fronde. 
In 1061 she retired to the Convent of Val de Grace, where she 
died rive years later. 

Her figure is shown three-quarters length, inclined towards 
the left, standing before the base of an immense column and a 
voluminous crimson curtain. With her left hand she lifts her 
mantle, while her right rests upon a crown, which lies on a 
cushion decorated with gold filigree and tassels. The sump- 
tuous robes are painted with remarkable subtlety and decision. 
The gown is of gold brocade, with touches of geranium red and 
silver, the bodice brought to a point at the waist with three 
pear-shaped pearls at the top and bunches of pearls in a series 
below it. The full sleeve is looped up over the elbow with a 
jewelled armlet, under which is a frill of lace and silk. From 
her shoulders hangs a mantle of blue velvet, sown with fleur-de- 
lys, bordered with an alternate device of a rosette and true-lov- 
er's knot, and lined with ermine. Her dark hair is piled above 
her head, with here and there the sparkle of a diamond. 

Height, 49 inches; width, 38*£ inches. 




The sky is a pure, unclouded blue, and against it flap the 
lighted and shadowed sails of fishing vessels whose hulls form a 
compact horizontal band across the middle distance. The water 
in front is blue like the sky, but spread with flots of buff, red 
and brown, as its smooth, swaying surface reflects the hues of 
the vessels and of several small boats that spot the front, still 
repeating the horizontal direction. In the foremost of these, a 
drab gondola, with a water jar hanging over its side, is a party 
of fishermen, one of them playing an accordion, while another 
stands up holding a bottle. 

Painted flatly with a variegated pattern of rich color that 
suggests some Eastern rug, the picture is full of force and anima- 
tion ; a good example of this very individual artist. 

Signed on the right, F. B. '95. 

Height, 40 inches; length, 51 inches. 





At a table, set in the open air in the centre of the picture, 
a party of yokels is seated, drinking to the health and, no 
doubt, at the expense, of a soldier by whom a woman is seated. 
To the right of the group a wagon drawn by a pair of horses has 
halted before the inn door, where the landlord stands with a 
mug of ale. The inn, backed by a red brick building, bearing 
the sign, ; 'Sion House Academy," is itself constructed of 
timber work and plaster, with a lean-to stable, beside which two 
horses stand, while another pokes his head through the doorway. 
On the left of the composition a road runs back under an 
avenue of trees, with cottages on the left and a green upon 
the other side, at the end of which appears the low spire of the 
village church. In the foreground races a little boy, with the 
string of a kite in his hand and two dogs at his heels. 

On a paper at the baek of the frame is the artist's auto- 
graph statement — "The lied Lion Inn near Shillinlea, Surrey, 
painted for H. Wallis, Esq. E. C. Williams, June 19, 1848." 

Height, 30 inches; length, 50 Inches. 




A lane passes back from the front, with large oaks on each 
side whose foliage of rich greens and ambers, almost meeting 
overhead, leaves intervals of soft blue sky. On the right is an 
arched bridge, under which a brook flows in a stony channel. 
Farther back in the centre, where the road narrows between 
two posts, a boy in red waistcoat, with blue coat dangling from 
a stick on his shoulders, follows a flock of sheep. The lane 
ahead turns to the right, then winds back to the left round a 
fenced enclosure of trees, surrounding a red-roofed house, the 
smoke from its chimney curling softly against some distant pop- 
lars. In the background the lane once more passes to the right, 
and here a woman and child stand beside a stile, talking to a man 
in the orchard on the other side. 

The scene is a lovely one, flooded with sunshine, in the ren- 
dering of which Vincent was especially distinguished among the 
painters of the Norwich school. 

Height, 37 inches; length, 48 inches. 


1575— After 1649 


A little girl, in a gown reaching to her feet, is represented 
standing in a landscape, extending an orange in her left hand. 
Behind her are two tree-trunks and a distant slope of brownish 
green grass under a white sky with tawny clouds. The bright 
chestnut hair, kept in place by a pin and comb, is drawn off her 
square forehead ; the eyes are very far apart, the nose large, and 
the lips broad and full. In her ears are little crosses formed of 
four stones, and a chain of gold links is worn over the edge of 
the chemise. The demureness of the face finds a response in 
the formal sobriety of the costume. A tippet of white muslin, 
trimmed with two bands of lace, is fastened by three little string- 
bows over the black velvet bodice. The latter has a short skirt 
open down the front over a brown watered silk petticoat, faced 
and edged with bands of velvet. The child's right arm hangs by 
her side with buff gloves held in the hand. 

The costume is painted with skill, and the whole picture 
has an air of grave distinction. 

Height, 60 inches; width, 3S inches. 
From the Collection- or J. W. Safe, Brigiitoh. 




In front of a drab wall, on the right of which is a vertical 
band of dark olive, the statesman is represented beside a carved 
wooden table, resting the left hand on an open book, and the 
other upon his hip. He is clad in a brown velvet coat, with 
white frilled cuffs, and waistcoat of French gray silk, that has flap 
pockets at the waist and skirts trimmed with fringe. The body 
slightly inclines to the right, while the head is turned three- 
quarters to the left, surmounted by a powdered blond tie-wig, 
that is brushed back from the forehead and curled over the ears. 

Height, 50 inches; width, 40 inches. 

From the Collection of Ma. Wm, Morton-Pitt, Cricket Cocrt, Chard, Somer- 




Under the latticed window of a cottage, whose wall shows 
brick through the broken plaster, rests a settle, in front of which 
a woman kneels with her right arm round the standing figure of 
a little child and her left hand on its arm. The child, clad only 
in a short slip, has its arm folded over a kitten at which it gazes. 
The mother's head is slightly bowed, showing the knob into 
which her dark brown hair, worn in ringlets over the ears, is 
drawn up. 

Her white dress is cut low and clings to the figure, fastened 
with a claret-colored ribbon at the waist, whence it parts in front 
over a pale blue petticoat. Behind her figure, to the right, is a 
bunch of foliage, and beyond it a burst of white in a blue sky, 
across which lean two tree-stems. 

Height, 51 inches; width, 40 inches. 


Exhibited 1840-1871 

The three children are grouped in front of a grove of beech 
trees, to the left of them being a statue of Cupid and Psyche, 
beyond which a garden landscape extends to a sheet of blue 
water. The little Princess Royal, who later became the mother 
of the present Emperor of Germany, a fresh-faced child with 
yellow-brown ringlets, is seated on a stone, lifting her white 
dress so as to make a hollow for some roses. One has just been 
dropped in by her brother, the Prince of Wales, who in a ruby 
velvet suit kneels by her side with his left hand on a hoop. The 
Princess Alice, little more than a baby, sits on the grass to the 
boy's right, dressed in a blue dress and rose-colored sash and 
holding a bunch of roses. 

This picture was hypothecated by the artist to a lawyer 
at Windsor, who advanced him money upon it. The loan not 
having been repaid, it remained in the possession of the lawyer 
for nearly forty years, and after his death was sold among his 

Signed on the pedestal of the statue, A. Jerome, 1851. 

Height, 45 inches; length, 56 inches. 




In this elaborately and handsomely composed landscape 
the conspicuous feature is a two-arched bridge that crosses the 
middle distance, uniting the steep banks of a river which flows 
to the front. Here a bather is walking in the shallow water 
towards two figures, who are seated under the bank which rises 
on the left of the foreground. Two more figures appear at the 
top of it, and behind them stands a ruin, pierced by an arched 
entrance. This side of the foreground is in shadow, strongly 
contrasting with and giving extra delicacy to the pale gray 
water and the warm buff of the bridge. Beyond the latter is a 
background of mountain with bold rocky formation in faint gray 
hues and with a lace-like fringe of trees, showing against warm, 
vaporous sky. The latter clears above to a greenish blue, in 
which a loose shredded cloud is poised. Several tall trees crown 
the bank at the right end of the bridge. 

The picture notably exhibits this artist's special qualities: 
originality of composition, warm tone of color and brightly 
lighted atmosphere. 

Signed above the left, N. Beechem. 

Height, 50 inches; width, 40 inches. 




Lord Althorp, who succeeded to the earldom in 1834, was 
born in 1782. After being educated at Harrow and Trinity 
College, Cambridge, he entered Parliament in 1804 as a sup- 
porter of Fox. From 1806 until the passage of the Reform Bill 
in 1832 he represented the county of Northampton, and was one 
of the leaders of the opposition. During Earl Grey's adminis- 
tration, 1830 to 1834, he served as Chancellor of the Exchequer. 
On his father's death he retired from political life and devoted 
himself to agricultural science, being the first President of the 
Royal Agricultural Society, 1838. He was an active member 
of the Roxburgh Club for reprinting rare books. 

The face is of peculiar sweetness and noble gravity. The 
golden brown hair waves softly over the top of the head, and at 
the side is brushed to the front. The eyes are deeply set, the 
nose delicately curved at the nostril, and the mouth short, with 
a full underlip, while the broad jaw narrows sharply at the chin. 
The young man is seated with his left arm resting on a table, 
the hand holding a quill pen. The figure faces three-quarters 
to the left, clad in a brown cloth coat with high roll-over collar, 

a fawn- colored waistcoat and tight drab trousers. Two seals 
hang from the fob. A roll of paper and books are disposed 
about the table, and beside an open window, through which sea 
and shipping are visible, stands a volume, entitled "Sir W. 
Jones." The latter, celebrated as an Oriental scholar, had been 
the tutor of Lord Althorp's father and remained the friend of 
the family. 

lleighl, 50 inches; width, 40 inches. 
From the Collection or Mas. Guthrie. 




This lady, wife of Henry Mordaunt, second Earl of Peter- 
borough, was before her marriage Lady Penelope O'Brien, 
daughter of Barnabas, sixth Earl of Thomond. She was a lady 
of the bedchamber to the second wife of James II., Mary d'Este 
of Modena, mother of the elder Pretender. 

The lady is represented standing in a walled recess on the 
right of which a fountain is built out. The design of it is a boy 
struggling with a dolphin, the water spouting from its nostrils 
and gushing from its mouth into a shell-like basin. On this the 
lady rests her left hand, while the right is held across the body 
pointing towards the water. Her head leans slightly towards 
the left, and the fair hair, brushed negligently off her beautiful 
forehead and hanging behind in curls, is veiled with blue silk 
drapery that droops down her right side and is looped over the 
arm. The robe, of citron-colored silk, fits loosely over the fine 
bust and shows in its V-shaped opening the white frill of the 
chemise. The composition, while very decorative, is simple 
and unaffected ; the painting broad and spirited, and unusually 
fine in tone. 

Height, 58 inches; width, 45% inches. 




A primrose moon hangs high upon the left of a vaporous 
gray sky, over which are filaments of cloud, wine-colored, and 
to the right fluffs of rosy white. The river fills the centre of 
the landscape, gray and slumberous, with lines and tufts of reeds 
in the front, and the reflection of one bush that breaks the low 
line of the opposite shore. To the left of the foreground three 
cows have entered the water, one stooping to drink, and close 
by on the bank under a slender poplar stands a woman in slaty 
blue dress and white cap. Behind her begins a row of willow 
trees that follow the line of the left bank. The picture is a 
harmony of gray tones, tenderly atmospheric, notwithstanding 
the bold and sketchy manner of the painting. 

Stamped C. D. on right corner. 

Height, 34 inches ;• length, 58 inches. 

From the Collection of W. J. Laidi.ay, Drumore House, Campbelltown, Scot- 




In this splendid example of Van Dyck's courtly grace of 
portraiture the Queen is represented on a sofa, her figure, seen 
to the knees, facing three-quarters to the left. The right arm 
is laid upon a table and the beautiful hand suspended from 
its edge, while the other hand rests upon her lap, and on its 
upturned palm lie two roses. The head is held with graceful 
erectness against the golden brown background; the hair being 
of a golden red, disposed in little ringlets over the forehead and 
falling behind in a mass of smaller ones, held in place by a pearl 
comb. Her earrings and necklace are also composed of pearls. 
The robe is of pale blue satin ; the bodice cut low and softly 
curving to the bosom, while the flowing sleeves hang low down 
in a point, the upper part being drawn above the elbow in 
voluminous folds, and slashed so as to show the white under- 
sleeve. The costume is painted with consummate skill, and its 
masses of light and shade make a composition of delicate 
sumptuousness. A large cluster of dark stones decorate the 
breast, and from it hangs a string of gold fruit alternating with 
birds. The brown liquid eyes gaze out of the picture ; the nose 
is long and slender, and the mouth very sweetly pursed. A 

mingling of nobility and exquisiteness characterizes the whole 

The picture is from Ashtead Park, Surrey, which in the 
reign of Charles I. was in the possession of Thomas, Duke of 
Norfolk. This nobleman was a cultivated patron of the arts, 
and held office at court until Parliamentary troubles reached a 
critical stage in 1642, when he was intrusted with the duty of 
escorting Queen Henrietta Maria and the Princess Mary to 
Holland. He remained abroad until 1046, when he set out 
to return to England but died on the journey. 

Height, 48 inches; widlk, 37 inches. 




A curious mingling of natural grace and allegorical affecta- 
tion appears in this handsome picture. The children are grouped 
under the spreading foliage of a chestnut tree in a garden, 
beyond which is the suggestion of a rampart wall, their little 
bodies tricked out in splendid raiment, designed according to 
prevailing notions of classical garb, and in the case of the boy 
grotesquely so. Yet, with all this bravery of artifice, the faces 
have the charming naturalness of childhood. 

The little girl is seated on a stone, her trim figure erect in 
profile and the face turned towards us with an expression of 
serious sweetness. Over a white chemise with loosely flowing 
sleeves, a drapery of peach-bloom satin is draped from the 
shoulders, descending to the ground, where it is bunched in 
sumptuous folds. From her right shoulder a reddish plum-col- 
ored mantle falls over her arm. The boy, whose long ringlets 
resemble a Restoration wig in miniature, stands to the left of 
his sister, holding a bow and arrows. His costume consists of a 
deep blue tunic, trimmed down the front with gold lace, gray- 
ish blue tights and a cothurnus, the straps of which, with gems at 
their intersections, extend half way up the calf. A drapery of 
crimson silk, fastened at his back, lies across the right thigh and 
covers the left leg. The various fabrics are painted with con- 
summate skill. 

Another picture of the same children by Kneller was mez- 
zotinted by I. Smith. 

Height, 60 inches; width, 48 inches. 



(A study for the larger picture in the Madrid Museum) 

Pluto has caught the maiden in his arms and is mounting 
his chariot; the three brown horses plunging forward, as a Cupid, 
running alongside, lashes them with a whip, and another, float- 
ing in the air, holds the reins. To the left of the group Minerva, 
in a golden brown drapery, with corselet and white-plumed 
helmet, leans forward with outstretched hand laid upon Pluto's 
arm. The movement of her figure is repeated by two other 
maidens, one nude to the waist with olive green drapery around 
her legs, and the other garbed in a rosy veil that leaves her left 
arm and breast exposed. Beyond them is visible the water of 
Lake Enna under a warm sunset horizon, that changes above to 
blue sky, dappled with pink clouds, and gradually darkening 
towards the right, where it lowers angry and lurid. 

Height, 30 inches; length, 62 inches. 
Purchased fhom the executors of Mr. Reuben Moss. 




A little barefoot girl, in plain white frock, who, tradition 
says, was the daughter of the artist, stands, flying a kite. Her 
face, surrounded by light curly hair, is raised as she looks up, 
while her right hand, lifted above her head, regulates the string, 
which passes through the left hand to the reel on the ground. 
The sweet little figure is silhouetted against large masses of 
white cloud. 

Height, 50 inches; width, 40 inches. 
From the Collection of John Rohde. 



The actor stands with his weight on the left leg, advancing 
the other and resting his drab gloved hand upon a cane. He is 
clad in a leather jerkin, warm buff in color, with a fringe of 
leather upon the shoulder and tags of the same running down 
the front. The collar and cuff are of lace, and a drab bandolier 
crosses his breast, holding a small sword which shows at the 
back between his legs. These are encased in breeches and 
stockings. From his left shoulder hangs a mantle of yellowish 
brown material, covering the left arm, which rests upon the hip. 
The fine head is bald, with light hair falling loose around the 
ears and neck; and the eyes, as Fanny Burney noted in her 
diary, are brilliant and piercing. Behind this strikingly alert 
figure are two columns and a beech trunk, with a distant view 
of pale greensward under a whitish sky that grows to dark slate 

The picture is mounted in the original frame. 

Height , 84 inches; width, 50 inches. 
From the Collection of Mk. G. Hunt-Heigham. 




The grand rock, crowned with its once impregnable for- 
tress, for it now needs the protection of advance earthworks, 
is seen from the river ; a paddle-wheel steamer, bright with 
passengers, and a boat, alongside of it, occupying the left of the 
foreground. Another boat, with figures in it, is moving in 
mid-stream, and a third lies under the opposite bank. Follow- 
ing the course of this is a wall, with square towers at intervals, 
beyond which is a row of steeply roofed houses, some of them 
with double tiers of dormer windows. Behind them mounts 
the rock, shrouded in soft transparent shadow at the base, lu- 
minous atop with rosy yellow light, under a pale-greenish sky, 
dappled and skeined with vapor. To the right, connected by 
a high viaduct, is a darker mass of rock and ruin, golden brown 
in the shadow. The picture is an exceedingly beautiful exam- 
ple, with a noble simplicity of composition, exquisiteness of 
color and lovely effects of atmosphere. 

Height, 23V& inches; length, 29 inches. 
From the Collection of Mr. Douglas Murray. 





Figures, realistically represented in the costumes of the 
seventeenth century, are congregated round a table, to the left 
of which is the Christ in blue and red drapery, with a nimbus 
above His head, who leans back with outstretched hand beckon- 
ing St. Matthew. The latter sits upon the right of the table 
with his arm upon it, leaning forward ; his strong face, sur- 
mounted by a black birctta, earnestly fixed upon the Christ. 
Prominently catching the light in the centre of the group is a 
young man who turns from making entries in a book to note the 
cause of the interruption. A white feather dangles from his 
cap, and his figure is clad in a buff doublet with slashed sleeves 
and white loose breeches. To the right of him an old man's 
head is bowed over the table as he poises a pair of scales. l?e- 
hind him appear two other figures, one in partial shadow: and 
two faces are also visible above the Christ's shoulder. 

The figures are strongly drawn, with pronounced skill in the 
foreshortening; the heads are finely modelled and full of charac- 
ter, and the fabrics painted with truth and feeling. The canvas 
is a museum picture of notable interest. 

Height, 57 nidus; length, 88 inches. 

From the Collection of Lord James Butler, Dhumcondra Castle, Ireland. 
Exhibited at hie Dublin Fine Arts Exhibition. 




This dignitary, a member of the Pesaro family, stands 
against a dark olive background, his figure seen to the knees, 
facing three-quarters to the left. The face is ruddy, with short 
black hair and a dark brown mustache and pointed beard, re- 
lieved against the white of a lace collar. He is clad in a black 
velvet doublet, edged with brown fur, the sleeve hanging full 
and short over the black velvet sleeve of the under-tunic. 
Upon the breast, by a brown cord, hangs a pendant with an 
amber- colored gem in the centre and a gold star suspended from 
the bottom. He rests his right hand on a table covered with a 
crimson and black cloth, on which shows the edge of a gold 
casket, while his right hand, hanging down, holds a white hand- 
kerchief. Rings encircle the first finger of the right hand and 
the little one of the left. 

Height, 43 inches; width, 36 inches. 

From the Collection of Lord Methuen. 



This magnificent example of the Dutch cuttle painter who 
reached such an early maturity and died so young has been 
reckoned as one of the most important after the famous " Hull " 
at The Hague. On the left of the picture the roof and chimney 
of a cottage and two trees with scant}' foliage appear above a 
rude wall of earth, which separates them from the foreground. 
Here on the mossy turf, which shows in places the brown 
undersoil, five cow's are grouped. In the centre, facing the 
Cottage, stands a brown one, under whose belly shows the white 
face of a dark dun that lies beyond her. In front of her lies 
another of similar color, and at this one's back a black and white 
cow is extended ahead of the standing one. To the right of this 
group a white and dun is feeding, facing towards the water, 
which follows the irregular curvings of the shore upon the right 
as far as the middle distance. At this point a road ascends to 
the right, up which a man and his dog are following a cow and 
some sheep. In the background rise wooded hills under a 
grayish white sky, the right side of which is filled with creamy 

The natural .character of the cows, their impressive bulk of 
form and richness of color, are splendidly realrzed, and in the 
farther portion of the picture there is a charming contrast of 
delicate tones. It is in every respect a most notable example. 

Signed at the right, Paulus Potter, 1646. 

Height, 39 inches; length, 51% inches. 
From the Collection of Mr. G. Featherstox Giefex. 



The subject of this superb portrait, a brother of George 
Grenville, the author of the notorious Stamp Act, allied himself 
in politics with William Pitt, his brother-in-law, by whom he 
was promoted to the offices of Lord of the Admiralty and Lord 
Privy Seal. His correspondence and that of his brother George 
with Pitt was edited as "The Grenville Papers" in 1852 by 
W. J. Smith. He was born in 1711 and died at Stowe in 1779. 

He is represented in the robes of a peer and decorated with 
the ribbon and regalia of the garter, his left hand resting on his 
breast and the other extending downwards, holding his coronet. 
He wears a powdered wig, bunched over the ears and tied 
behind, and stands almost in profile facing to the right, with the 
weight of the body on the left leg and the other slightly bent 
back from the knee. An ermine tippet reaches to his elbows, 
and below it the scarlet cloak descends and masses itself in 
ample folds on the floor. His coat is of brown silk embroidered 
with gold; the breeches are crimson, the stockings and shoes 
white. The regalia that hangs round his neck is a chain of gold 
tie-knots, alternating with jewels of blue enamel, and from it 
suspends a mounted Saint George in conflict with the dragon. 

The Garter, with the legend "Honi soit qui mal y pense,' 

encircles his leg. 

Behind him on the left is a column with a curtain of crimson 
drapery, and to the right a balustrade, beyond which appear a 
round tower and bushes. The picture is splendid in color, 
painted throughout with magisterial decision. 

It is mounted in the original frame. 

Ileight, 93 inches; width, 57 inches. 
From the Collection of the Duke of Buckingham and Chandos. 







English painter and engraver of subjects of field sports. In 1816 
published "The Beauties and Delects of the Figure of the Horse"; in 
180*9, " Jorrock's Jaunts and Jollities." 

20 — Cotherstonc, Winner of the Derby, 1843 


A pupil and follower of Morland. 
10 — The Seaman's Resort 


Born at Emden, 1631 ; a pupil of Aldert van Everdingen; worked much 
at Amsterdam. Celebrated in his own day for sea-pieces, and especially 
for rendering of storms. In latter part of life etched a few plates and 
practised engraving. Died at Amsterdam, 1708. 

48 — Shipping 


Born in New York, 1859. "Pupil of Bierstadt, M. F. H. de Haas and 
of the National Academy. First exhibited in 1879. By 1889 had secured 
a solid recognition. Died from a chill the same year, at Ballston, New York. 

90 — Hiding in the Hancocks 


Born in Dublin, 1728. Enjoyed the favor of Burke, who introduced 
him to wealthy patrons. Was successful in Dublin, and more so in London. 
One of the original members of the Royal Academy. Appointed Master 
Painter to Chelsea Hospital. Etched a few plates. Died, 1784. 

54 — Landscape 


Born at Burford, Oxfordshire, 1753. Originally a house painter, then 
studied law, and finally entered the Royal Academy school. Painted for 
some years, in Norwich, "conversation pieces" after the manner of Hogarth, 
and portraits. Returned to London ; painted Queen Charlotte, George III. 
and all the royal family, and enjoyed the favor of society. Died at 
Hampstead, 1839. 

65 — James, Earl of Cardigan 


Born at Haarlem, 1620. Son and pupil of Pieter Claasz; studied also 
with Van Goyen, J. B. Weenix and Jan Wils, whose daughter he married. 
In 1642 he entered the Guild of Haarlem. Probably visited Italy, 1648- 
1655, and finally settled in Amsterdam. At first influenced by Weenix, 
he gradually found his own style and shared with Jan Both the high regard 
of his contemporaries. A clever and fairly prolific etcher. Died at Amster- 
dam, 1683. 

SO — Man Cleaning a Wliite Horse 

142 — Italian Landscape with Bathers 


Born at The Hague about 1620. Still-life painter; favorite subject, 
fish. Flourished at The Hague from about 1650 to 1670. Member of the 
Guilds of The Hague and Alkmaar. Represented in the galleries of Berlin, 
Dresden, Rotterdam, Amsterdam and The Hague. Died after 1674. 

125—Still Life— Fish 


Contemporary. Born in New York, 1847. Son of a physician. A 
medical career was intended, but love of music and painting and a tour 
through the West, with study of Indians, decided him to become a painter. 
Self-taught. His works are distinguished by rich and subtle harmonies of 
color, and poignant, poetic sentiment. 

75 — Small Landscape 

78 — Autumn Landscape 


Contemporary. Born in Lincolnshire, England. Associate of the 
Champ-de-Mars, Paris. Represented in the Luxembourg; Tate Gallery, 
London; and in the Carnegie Institute, Pittsburg. 

135 — Spanish Fishermen 


One of the numerous painters of the Brueghel family. 

3 — Village Scene 

4 — Landscape and Figures 


Contemporary. Born at Hartford, Connecticut, 1842. Pupil of 
William Hart ; later, of Achenbach in Dusseldorf and P. J. Clays in Ant- 
werp. Lives chiefly in Venice. 

76 — Entrance to the Grand Canal — Sunset. Water Color 


Born at Kensington, London, in 1779. Brother of Dr. Callcott the 
musician, and himself began life as a chorister in Westminster Abbey. 
Studied at the Academy under Hoppner ; first exhibited portraits ; after 
1803, landscapes, chiefly river and coast scenes. Later visited Italy, and 
painted " Italian " landscapes ; also executed two subject-pictures, "Raphael 
and the Fornarina " and " Milton Dictating to his Daughters." Appointed 
Surveyor of the Royal Pictures. Died in Kensington in 1844. 

41 — Sea Piece and Shipping 


Born in Venice in 1697. Pupil of his father, Bernardo Canale, a deco- 
rator and scene painter. In 1719 went to Rome ; drew and copied the antiqui- 
ties. Returning to Venice, occupied himself exclusively with views of that 
city. In 1764 visited London, remaining there two years. Etched thirty- 
one plates of " Views of Venice." Died there in 1768. 

102 — View on the Grand Canal, Venice 


A native of Switzerland. Settled in London, about 1760, as a portrait 
painter. Frequent exhibitor at the Society of Artists, in Spring Gardens. 
Died in London about 1778, at an advanced age. 

06 — Portrait of a Lady 


Born in Great Tichfield Street, London, in 1788; his father being a 
picture cleaner and dealer, and a friend of Morland's. Entered Royal 
Academy schools; exhibited for the first time in 1809. Painted rustic 
groups, landscapes and coast scenes. Father of Wilkie Collins, the popular 
novelist. Died in London, 1847. 

32 — Fishermen's Children 
73 — Harvest Showers 


Born at East Bergholt, Suffolk, in 1776; the son of a miller. Attended 
school in Dedham, spending his leisure in sketching. Admitted a stu- 
dent of the Royal Academy in 1799. Commenced as a portrait painter, 
but exhibited a landscape in 1802, and henceforth devoted himself to this 
branch. In 1819 exhibited " A View on the Stour," and was elected an 
Associate; but full membership was delayed until 1829, when he was in his 
fifty-third year. Resided at Hampstead, near London. His house was full 
of unsold pictures. The French, however, had recognized his greatness ; and 
his pictures, exhibited in Paris, undoubtedly influenced French landscape. 
Died suddenly, April 1, 1837. 

12 — Watering the Horse 


Born at Boston in 1737. Mostly self-taught, though helped by his step- 
father, Peter Pelham, the painter and engraver, who died in 1751, about 
which time Copley began to paint portraits. In 177-A he visited Rome, and 
the following year settled in London. Patronized by royalty and society, 
he painted portraits and historical subjects, among the latter, " Death of 
Chatham " and " Death of Major Pierson." His best works were collected 
by his son, Lord Chancellor Lyndhurst, and many have been engraved. Died 
in London, 1815. 

72 — Portrait of the Pelham Children 
150 — David Garrick 


Born at Ornans, France, 1819. Commenced to study law in Paris, but 
drifted round the studios and studied the old masters in the Louvre. In- 
dependent, he would have nothing of the academical or romantic schools, 
and struck out for realism ; first attracting attention by his " Dinner at 
Ornans," in 1849. At the Expositions of 1855 and 1867 he made an ex- 
hibition of his works in a separate building, outside the grounds. Two 
years later Munich honored him with a separate room and the Bavarian 
Order of St. Michael. He accepted it, but refused the Legion of Honor. 
During the Commune he was elected Minister of Fine Arts, and to save 
the Louvre was forced to consent to the destruction of the Vendome Column. 
For this he was imprisoned and fined ; after which he retired to Vevay in 
Switzerland, and died there, 1878. 

27— Coast with White Cliff's 

91 — Coast Scene 


Born at Sheffield, England, in 1811. Studied at Birmingham, and in 
1828 settled in London, and began exhibiting at the British Institute and 
Royal Academy. His first works were Welsh and Irish scenes ; later his land- 
scapes were drawn from the north of England. Contributed to the Etching 
Club. Lived in Bayswater, and died there, 1869. 

13 — Road to Ballahulish 


Born in Norwich in 1769. Founder of the Norwich school of land- 
scape, to which Cotman, Stark and Vincent belonged. Son of a poor weaver, 
he began life as a doctor's boy, and later worked with a house and sign 
painter. He sketched from nature, and a local collection of pictures enabled 
him to study some good examples of Dutch landscape. He also visited 
the collections in London. But he worked in the neighborhood of Norwich, 
forming with a few local painters and his own pupils the little " Society of 
Artists," founded in 1805. He rarely exhibited in London, but visited 
Paris in 1814. He died in his native city in 1821. 

4 4 — Coast Scene — Moonlight 

79 — View near North Elmham 

97 — Landscape with Rained Church 


Born in 1793, eldest son of " Old Crome." Educated in Norwich and 
studied art with his father. In 1811 appeared as an exhibitor at the Royal 
Academy. He frequently painted moonlight scenes. Resided for several 
years at Great Yarmouth, and died there in 1842. 

58 — River Scene — Moonlight 


Born at Dordrecht in 1620. Studied under his father, Jacob Gerritsz. 
Married in 1658, and lived chiefly on his estate, Dordwijk, near Dordrecht, 
where, as vassal of the Countship of Holland, he had the right to sit in the 
Supreme Court of Justice. In 1672 his name was presented to the Stadt- 
holder William III. as nominee for membership in the regency of Dor- 
drecht. In- fact, he was a person of much consequence, and, as his name 
does not appear in the Guild, some have thought he practised art as an 
amateur. In his early years he painted still-life, birds, stables and some- 
times portraits, signed A. C. ; later, figures, cattle, landscapes and water 
scenes, signed with his whole name. Died in Dordrecht, 1691. 

53 — Portrait of a Gentleman 


Born in Dordrecht in 1575. Father of Aelbert Cuyp. Portrait and ani- 
mal painter, pupil of Abraham Bloemart. Founded in 1642 a Guild of 
St. Luke in his native city. " He belongs to that prominent group of 
masters, like Ravesteyn, Hals, Bramer, who, as true interpreters of nature, 
led Dutch art to the high development culminating in the genius of Rem- 
brandt." His death occurred after 1649. 

138 — Girl with Orange 


Born at Bristol, 1816. Son of Francis Danby, A.R.A. Landscape 
painter; member of the Society of British Artists, and a constant exhibitor 
at the Academy. Died in London, 1875. 

8 — On the Medway 


Born in Paris, 1817. Under the tuition of his father, Edme Francois, 
lie painted boxes, clock-cases and other articles of commerce. Visited Italy 
<it the age of eighteen, and upon his return studied with Paul Delaroche. 
First exhibited at the Salon of 1838, and continued to be a regular contrib- 
utor. Especially fond of river scenes, which he painted from a floating 
studio. Left many etchings. Died in Paris, 1878. 

145 — Rive?' Scene with Cattle — Moonrise 


Born at Heusden, 1607. Said to have been a pupil of Frans Hals, which 
is very doubtful. Visited Italy about 1831, and lived temporarily at 
Haarlem, Delft and Antwerp ; finally settled at Arnemuyden, where he 
became burgomaster. His architectural subjects, in which Van Herp, 
Palamedes, Stevens and Wouverman supplied the figures, are distinguished 
for their fine lineal and aerial perspective. Died in 1673. 

126 — Italian Street Scene 


Born at Boulogne, 1809. Genre and marine painter. Medal of the first 
class, 1846. Died at Boulogne in 1868. 

117 — Coast Scene 


Born at Chalons on the Saone, in 1747. He accompanied Napoleon to 
Egypt. His book on the expedition, "Voyage de la Haute et Basse Egypte," 
was illustrated with drawings by himself. He was made Director-General of 
Museums, and consulted by Napoleon on all matters connected with the Fine 
Arts. He designed and etched many portraits of ladies who had attracted 
him on his diplomatic travels :, also the collection of painters' portraits in the 
Uffizi Gallery at Florence, and reproductions of some of Rembrandt's etch- 
ings. He resembled Voltaire in features and in his wit. Died in Paris, 1825. 

23 — Viexv near Cairo 


Born at Strasburg in 1833. Real name Dorcr, which he modified into 
the French equivalent. When fifteen years old he was invited to contribute 
to the " Journal pour rirc." His first oil-painting admitted to the Salon 
was the "Battle of Alma" (1855), but he did not attract attention until 
1863. He executed a number of ambitious historical subjects of immense 
size, such as " Christ Leaving the Pratorium "; but they did not ;uld to his 
permanent reputation, which rests most firmly on his wonderful versatility 
as an illustrator of books. He possessed considerable ability as a sculptor. 
Died in Paris, 1883. 

98— Rocky Glen 


Born in Paris, 1727. Studied first under his father, Hubert Drouais, 
a portrait painter, and then with Xonotte, Carle Vanloo, Natoire and 
Boucher. His portraits of the sculptors Couston and Bouchardon, in 1758, 
secured him admission to the Academy, and led to his introduction at Court. 
He painted the ro3 r al family and many famous men of the day. Died in 
Paris, 1775. 

59 — Portrait of Bnffon 


Born at Haarlem in 1660. An excellent pupil and imitator of Adriaan 
van Ostade. Entered the Guild in 1679. He also executed some spirited 
etchings and a few plates in mezzotint. Died in Haarlem, 1704. 

2— The Toper 


Born of a good family at Antwerp, 1599, the seventh child of twelve. 
His father was a silk merchant, his mother skilful as a flower painter and 
embroiderer. When ten years old he was apprenticed to Hendrik van Balen, 
and in 1615 entered the Academy of Rubens, remaining five years as pupil 
and assistant. The master procured him an introduction to James I., whose 
portrait he painted at Windsor, and assisted him to visit Italy. Here he 
painted the portrait of Cardinal Bentivoglio, now in the Pitti Gallery. After 
five years' stay he returned to Antwerp, and again Rubens helped him to 
favor. He paid an unsuccessful visit to England in 1627, and for three 
years lived in Antwerp and Brussels, painting religious pictures and por- 
traits and etching the portraits of painters. In 1632 he accepted the 
invitation of Charles I., painted portraits of the king, queen and royal family 
now at Windsor, was knighted and appointed Court painter. He lived in 
sumptuous style at Eltham, and in the winter at Blackfriars. Here he 
died in 1641, and was buried in the old Cathedral of St. Paul, near the 
tomb of John of Gaunt. 

50 — Portrait of Inigo Jones 

146 — Henrietta Maria, Wife of Charles I 


Born at Reus in Catalonia, 1838. Pupil of Palau, of Claudio Lorenzales 
and of the Barcelona Academy, where he won the Prix de Rome in 1856. 
After his three years' stay in Rome, during which he studied Raphael and 
made sketches of Roman life, he was sent to Morocco by the government to 
paint the incidents of General Prim's campaign. In 1866 he went to Paris 
and was introduced by Zamacois to Goupil, and the following year visited 
Madrid and married the daughter of Madrazo, director of the Madrid 
Museum. With the exception of a year in Paris (1869-1870) and three 
years in Spain, he spent the rest of his life in Rome. He died there in 1874. 

118 — Original Sketch for " The Spanish Marriage" 


Born in 1727 at Sudbury, Suffolk, fourteen miles from Constable's birth- 
place. Apprenticed to a goldsmith in London, who introduced him to 
Gravelot, an engraver. The latter instructed him in drawing, and procured 
him admission to the St. Martin's Lane Academy. After an ineffectual 
attempt to practise portrait-painting, he returned home and married Mary 
Burr, a young lady of moderate means. Fifteen years he resided in Ipswich, 
painting portraits and landscapes, and then moved to the fashionable water- 
ing-place, Bath. His success was pronounced. In 1784 he moved to London, 
and was received as the rival of Reynolds. He died in 1788. 

49 — Portrait of Loi'd Dundonald 
10 A— The Carrier's Cart 
106 — Portrait of Lady Puller 


Born at Antwerp in 1670. He lived at Brussels, and died there in 1715, 
but no particulars of his life are recorded, though from his style it is conjec- 
tured that he was a pupil of Frans Snyders. He painted small wooded 
landscapes, with dead game, dogs and accessories of the hunt. 

22— Still Life 


Born in Venice, 1712. A pupil and imitator of Canaletto. Painted 
views of Venice which, though less precise in perspective and architectural 
detail than his master's, are charming in style and execution. Died in Venice, 

46 — Venetian Scene 


Born at Reading in 1782. In 1804 he became one of the original mem- 
bers of the Water-color Society. He accompanied Lord Amherst's mission 
to China in 1816, and subsequently stayed for some years in India. Re- 
turned to England in 1825, and, after a visit to Italy, devoted himself to 
oil-painting. He died at Kensington in 1857. 

92 — The Garden of the Hesperides 


Born at Antwerp in 1614. At twelve years old he was apprenticed to 
Darman Wortelmans at Antwerp, and two years later to Hans Birmans. In 
1637-1638 he became a master in the Guild, and was afterwards much in- 
fluenced by Rubens. His pictures are not numerous ; they usually rep- 
resent interiors with figures. Sometimes he put figures into Van Deelen's 
architectural pictures, as in the case of the one in this collection. He died at 
Antwerp in 1677. 

126 — Italian Street Scene 


Born in Surrey in 1795. At the age of eighteen he found employment 
at Dorchester in coach-painting. Then he worked as stage-coachman, and 
for a few years drove the " York and London Highflyer." He devoted him- 
self to painting, and was known as the artist-coachman. With the assistance 
of friends he was able to give himself up to painting and took some lessons 
from Abraham Cooper. His earlier works were confined to race-horses, and 
for thirty-three years he painted the winners of the St. Leger. In 1830 
he moved to Newmarket and thence to London, from which time the scope 
of his subjects widened. He received commissions from William IV. and 
Queen Victoria, and enjoyed great popularity. Died at Tunbridge Wells, 

133 — Waiting for the Ferry 


Exhibited at the Royal Academy between 1830 and 1851. 
1 — Small Landscape 


Born at Lincoln in 1786. He received lessons from John Raphael 
Smith, the crayon draughtsman and mezzotint engraver. First exhibited 
in 1803, and from 1806 attended the Academy schools. In 1827 he suc- 
ceeded Thompson as keeper of the Academy, endearing himself to the 
students by his singularly amiable disposition. He married the sister of 
Peter de Wint. Her death after seven years of marriage crushed his energy 
and hope. He died in 1839. 

143 — Portrait of Lord Althorp, afterwards Third Earl Spencer 


Born in London, in the Ship Court, Old Bailey, 1697. Apprenticed, 
about 1712, to Elias Gamble, a silversmith, after which he turned to engrav- 
ing. Then he passed to prints for books; and, after 1728, to oil-painting, 
producing small " conversation pieces." In 1729 he made a runaway mar- 
riage with Sir James Thornhill's only daughter. Four years later he 
settled in Liecester Fields and established his reputation as a painter by the 
scries of " A Harlot's Progress," followed quickly by " The Rake's Prog- 
ress." In 1745 his art culminated in the six pictures of " The Marriage 
a. la Mode." In 1757 he was appointed sergeant-painter to the king. He 
died at his later home in Lincoln's Inn Fields, 1764, and was buried in Chis- 
v ick Churchyard. 

108— The Green Room 


Born at Utrecht in 1590. Studied under Abraham Bloemaert, but when 
he was about twenty went to Italy and settled in Rome. Here he studied 
and acquired the style of Caravaggio, his pictures meeting with great 
favor at Rome. On his return to Utrecht he was elected dean of the Guild, 
and opened a school. Invited to England by Charles I., he spent the year 
1668 in decorating the Palace of Whitehall with allegorical subjects. He 
also decorated the palace at The Hague, the House in the Wood, and Rys- 
wick, and for the King of Denmark painted a series of pictures illustrating 
Danish history. His later years were devoted to portraits. He died in 
Utrecht in 1656. 

152 — St. Matthew Called from the Receipt of Custom 


Born at Rotterdam, probably in 1632. His style was formed from a 
study of Karel Fabritius and of Rembrandt. He worked at Delft and 
Haarlem, painting interiors and portraits Avhich are distinguished for 
qualities of tone and lighting. Out of Holland his works are extremely 
scarce, and even in that country are accounted rarities. He died in 1681. 

101 — Interior 


Born in Whitechapel, of German parentage, in 1759. After being a 
choir-boy in one of the royal chapels, he entered the Academy schools. His 
style was founded on a study of the works of Reynolds, though he was not 
a copyist. Through the patronage of the Prince of Wales he became the 
rival of Lawrence in fashionable popularity. Died in London in 1810. 

51 — Child xvitli Basket of Flowers 


Born in Devonshire in 1701. He was the pupil of Jonathan Richard- 
son, and became his son-in-law. After the death of his teacher, he became 
the most fashionable portrait painter of his time, until his popularity was 
eclipsed by that of his pupil Reynolds. He acquired considerable wealth, 
and formed a fine collection of drawings of the old masters. He died at 
Twickenham in 1779. 

139 — Portrait of William Pitt, afterwards Earl of Chatham 


Born, probably at Amsterdam, but possibly in London, in 1590. He 
had already attained celebrity in Holland when he visited England in 1618, 
and was taken into the service of James I. The arrival of Van Dyck in 1632 
interfered with his position, but he continued in England until 1648. 
Then he settled in The Hague. His death occurred probably at Amsterdam 
between 1662 and 1664. 

94 — Portrait of the Queen of Bohemia 


A pupil of Lawrence. 

141 — Children of Queen Victoria 


Born at Coire in the Grisons, in 1741, the daughter of an Austrian 
painter, Johann Joseph Kauffmann. At an early age she attained great 
proficiency in music and languages and showed ability in painting. Her 
father gave her instruction, and, that she might study the old masters, re- 
sided by turns in Milan, Florence and Rome. In 1765 she was received 
in England with great distinction and nominated one of the original thirty- 

six members of the Royal Academy. She was entrapped into a clandestine 
marriage with the valet of the Swedish Count de Horn, of whom she finally 
rid herself by the payment of £300. In 1781 she married Antonio 
Zucchi, a Venetian painter, with whom she retired to Rome. She died there 
in 1807, and was buried in Sant' Andrea della Frate. 

4.7 — Portrait of the Artist 
113 — Lady in a White Dress 


Contemporary. A native of California, where he resides. 
77 — Landscape with Pool and Cattle 


Born at Lubeck in 1646. Destined for a military career, he was sent 
to Leyden to study fortifications and mathematics ; but, displaying a taste 
for art, was allowed by his father to proceed to Amsterdam. There he 
entered the school of Rembrandt, and afterwards studied under Ferdinand 
Bol. In 1672 he went to Rome and became the pupil of Carlo Maratti and 
Bernini. After working for some time in Hamburg, he proceeded to London 
in 1674. He painted the portrait of Charles II., and his reputation was 
established. He painted Louis XIV., James II., William III., Peter the Great, 
Queen Anne, Charles IV. of Spain and George I. After residing for twenty- 
four years in Covent Garden, he settled near Twickenham, at Kneller Hall, 
which in his lifetime was called Whitton House. He died there in 1723, and 
was buried in the churchyard of the village, while a monument, with an 
epitaph to his memory by Pope, was erected in Westminster Abbey. 

68 — Lady Catherine Wyndham 

71 — Portrait of Queen Anne 

112 — Portrait of Joseph Addison 

147 — Portrait of Lord Clifford and Lady Jane, His Sister 


Born in London, 1802. The youngest son of John Landsccr, A. R.A. 1 [e 
early showed a talent for drawing, and was instructed by his father, and 
sent out into the field to draw the cattle and sheep. He firs! exhibited at 
the Royal Academy at the age of thirteen, and the following year entered the 
Academy schools. He exhibited yearly until 1822, when he paid his firsl 
visit to Scotland. In 1826 he was mad* Associate, at the earliest age per- 
missible. In 1850 he was knighted, and five years later received the large 
gold medal at the Paris Exposition. His reputation as an animal painter 
was extraordinary, and more than three hundred engravings have been made 
after his works. Died in London, 1873. 

25— Odin 



Born in Paris in 1656. His father, a merchant, settled in Antwerp, and 
Nicolas became a pupil of Anton Goubau. Ahout 1675 he visited England, 
and found work in the royal palaces under Lely. This brought him to the 
notice of Charles II., whose portrait he painted, as well as several of the 
nobility. After four years' sta} - he settled in Paris and became the intimate 
of Van der Meulen and Le Brun. He paid aether short visit to England 
and painted the portraits of James II. ana his wife, Mary of Modena, and 
the infant Prince of Wales. After the death of Le Brun and of Mignard, 
he occupied the foremost position in the French school of portraiture and 
historical painting. Died in Paris, 1746. 

45 — Princesse Clementina Sobieski 
61 — Princesse de Conde 


Born at Bristol, 1769. The family moved to the White Hart Inn, De- 
vizes, where the boy displayed such skill in making crayon drawings of the 
customers, that his father took him to Oxford, and thence to Bath, obtain- 
ing numerous sitters. In 1787 he went to London and entered the Academy 
schools; next year exhibiting the portrait of Miss Farren, which secured 
him the notice of the king, who, on Sir Joshua's death in 1792, appointed 
him painter in ordinary. His studio in Old Bond Street was the resort of 

fashion, and he painted all the notables of his time, visiting Aix-la-Chapelle 
in 1814 to paint the portraits of the allied sovereigns, their statesmen and 
generals, which formed the commencement of the Waterloo Gallery at 
Windsor. Thence he went to Rome and painted the Pope, and on his return 
to England found himself elected President of the Academy (1820). 
Between 1825 and his death in 1830 he painted some of his finest works. 
He was buried in St. Paul's. 

29 — Portrait of Miss Cuthbcrt 

66 — Portrait of Miss Maria Siddons 

103 — Portrait of Richard Evans 


Pupil and friend of Greuze. Born, 1760 ; died, 1815. 

60 — Lady in a White Dress 


Born in 1618, at Soest in Westphalia, where his father, a captain of 
infantry, was garrisoned. Pupil of Pieter de Grebber at Haarlem. In- 
fluenced by Van Dyck, for in 1641, the year after that artist's death, he 
visited London in the train of William of Orange, on the occasion of his 
marriage with Mary, daughter of Charles I. He painted portraits of these 
three, and another of the king in his captivity. During the Commonwealth 
Cromwell sat to him, desiring that the painter would " not flatter me at all ; 
but remark all the roughnesses, pimples, warts, and everything as you see 
me, otherwise I will never pay a farthing for it." At the Restoration he was 
appointed Court painter to Charles II., and made a baronet. From 1662 
to his death in 1680 he lived in the Piazza, Covent Garden. He was buried 
by torchlight in St. Paul's, Covent Garden, where a bust by Grinling Gibbons 
was erected. It was destroyed by fire in 1795. 

3 A — Portrait of Algernon Sidney 

35 — Henry Sidney {Lord Romney) 

56 — Child and Dog 

144 — The Countess of Peterborough 


Born in London, 1794, of American parents, who soon after returned 
to Philadelphia. lie was apprenticed to a bookseller, but desiring to be a 
painter, sailed for England and entered the Academy schools. Among his 
instructors were Benjamin West and Washington Allston. After a visit 
to the Continent in 1807 he settled down to genre subjects, mostly of 
humorous character. With the exception of the year 1833, which he spent 
in West Point as a teacher of drawing, the rest of his life was confined to 
England. He published, in 1845, " Memoirs of Constable," and his ma- 
terials for a life of Reynolds were posthumously brought out by Tom 
Taylor, who also edited his autobiography. He died in London, 1859. 

11 — The Duke and Duchess Reading 


Usually known as Carle Vanloo, painter and sculptor, was born at 
Nice in 1705. Son of Louis Van Loo. Instructed by his brother Jean 
Baptiste, with whom he went to Rome, studying painting under Benedetto 
Luti and sculpture under Le Gros. After eight years in Paris he again 
visited Rome, and was knighted by the Pope. In 1735 he was admitted 
to the French Academy, in which, by successive steps, he attained to the 
position of director. He died in Paris, 1765. 

52 — Lady Mary Worthy Montagu 


Born at Strasburg in 1740. He was the son and pupil of a miniature 
painter, who settled in Paris that the youth might gain instruction from 
Tischbein and Francisco Casanova. A very popular painter of battles, 
hunts, sea-pieces and landscapes with figures and cattle, in which last he 
seems to have been influenced by Berchem. In 1771 he quitted France, 
and spent the rest of his life in England. He died at Chiswick in 1812. 

37 — Landscape and Gypsies 

93 — Landscape with Cattle and Ruins 


Born at Troyes in 1612. When twelve years old he was instructed by a 
local painter, and then spent two years studying the treasures of art at 
Fontainebleau. Returning to Troyes he executed some decorative work for 
the Marechal de Vitry, who sent him to Paris to complete his art education 
at the studio of Vouet. In 1635 he set out for Rome, and spent twenty- 
two years in Italy, whence his nickname " Le Roman." In 1657 he received 
a royal command to return to France, and settled in Paris, patronized by 
royalty, and specially regarded as the painter of Court beauties. He also 
executed decorative works, among them frescoes representing paradise, in 
the dome of Val de Grace, for Anne of Austria. He was the rival of Le 
Brun, and it was not till after the latter's death that he was received into 
the Academy. He died in Paris in 1695. 

134 — Portrait of Anne of Austria 


Born in London, 1763, son of Henry Robert and grandson of George 
Henry Morland, both of whom were painters. He was a pupil of his father, 
who bound him to an apprenticeship and kept him closely applied copying 
Dutch pictures for the dealers. When he gained his independence he set up 
for himself, but fell a prey to an unscrupulous dealer. Escaping from him 
he painted miniatures and thrice visited France. Returning to England he 
married the sister of William Ward, who shortly after married Morland's 
sister. As long as they all lived together Morland steadied down to regular 
work; but when the two families separated he once more found himself 
in trouble, and the rest of his life was a medley of hard work, debauches and 
debt. The popularity of his work was extraordinary and led to wholesale 
fraudulence on the part of dealers. He died in a sponging-house, 1804. 

5 — Shepherds and Sheep 

6 — Gypsies 

14 — Winter Scene — Skating 

110 — The Dragon Inn 

120 — The Smugglers 

123 — Sow and Pigs 


Born at Chalons-sur-Marne about 1827. Painter of landscapes and in- 
teriors. Pupil of his father. Medalled, 1867. Died in Paris, 1886. 

107 — Galerie (TApolloii in the Louvre 


Born at Antwerp between 1578 and 1582. Best pupil of Hendrik van 
Steenwyck, the elder; entered the Antwerp Guild in 1609. He was famous 
in the Flemish school for his painting of church interiors, in which the 
figures were inserted by Frans Francken III., Teniers, Brueghel and van 
Thulden. Died about 1656. 

38 — Interior of Cathedral 


Born at Heidelberg, 1639; the son of a sculptor and engineer in the 
Polish service, who died in Prague. War obliged the widow to seek asylum 
in Holland for herself and three children, of whom Caspar was the youngest 
He was educated by a wealth}' physician, and placed in the studio of Gerard 
Terburg. He started to visit Italy by sea, but got no farther than Bordeaux, 
where he fell in love with and married Marie Godin, his landlord's niece. 
The trip to Italy was abandoned, and he returned to Holland, where his small 
portraits were soon in great demand. According to Walpole he paid a short 
visit to England at the invitation of Sir William Temple. He was a member 
of the Guild at The Hague, where he died in 1684. 

24 — Lady of Fashion as St. Catherine 


Born at St. Agnes, near Truro, Cornwall, in 1761. Began to paint at 
the age of ten and sold portraits at sixteen. In 1780 he was introduced to 
Sir Joshua Reynolds by Peter Pindar, as the Cornish genius. He painted 
some historical subjects, but excelled in portraits, which are distinguished by 
fidelity and directness. In 1805 he was chosen professor of painting in the 
Royal Academy. Died in London, 1807, and was buried in St. Paul's 

57 — Portrait of Mrs. Pope 

87 — Head of a Girl 

116 — Head of an Oriental 


Born at Haarlem, 1610. The favorite pupil of Frans Hals, and after 
:640 developed under the influence of Rembrandt. He had many pupils, 
among them Jan Steen and Cornelis Dusart. He left many etchings, of 
which Bartsch has enumerated fifty. Died in Haarlem, 1685. 

19 — Man beside a Cottage 


Born in 1769. Son of a bookseller in Ludlow, Shropshire. Was admitted 
to the Academy schools in 1791, and at the same time studied under Catton. 
He painted rustic subjects and portraits, in the latter especially securing a 
large clientele. Died in London, 1825. 

140— Mother and Child 


21 — Landscape — A Gray Day 


Born in London, 1782. Pupil of George Arnald and of the Academy. 
He succeeded Phillips as the fashionable portrait painter of the day, and 
had among his sitters many famous people. He died at Barnes in 1875. 

11 A — Portrait of William Wordsworth 


Born at Enkhuizen, 1625. Son of Pieter Potter, painter of landscapes, 
soldiers, animals and still-life, who moved to Amsterdam in 1631. He prob- 
ably instructed his son, who is supposed to have studied also at Haarlem 
with Jacob de Wet the elder. Paul's first signed picture, " The Herdsman," 
appeared in 1643. In 1646 he went to Delft, was admitted to the Guild 
and produced " The Young Bull." In 1649 he moved to The Hague, where 
his pictures were in extraordinary demand. He married in 1650, but two 
years later, having cause, it is said, to mistrust his life's fidelity, he suddenly 
left The Hague and returned to Amsterdam. Here two years of unremitting 
labor exhausted a constitution naturally weak, and he died in 1654, in the 
twenty-ninth year of his age. He also executed a few spirited etchings. 

154 — Landscape and Cattle 


(Real name, GASPARD DUGHET) 

Born in 1613, of French parents, who had settled in Rome. In 1629 
his family received Nicolas Poussin, then a lonely and friendless student in 
Rome, into their house and nursed him through an illness. He married one 
of the daughters, and for three years instructed Gaspard in art. The latter 
set up for himself at the age of twenty. He spent a year at Perugia and 
Castiglione with the Duke della Cornia, and also visited Milan, Florence and 
Naples. Returning to Rome he came under the influence of Claude Lorrain, 
then at the zenith of his fame. He remained a bachelor, fond of out-door 
sports as well as painting, and for better study of nature maintained four 
houses; two on elevated situations in Rome itself, one at Tivoli, and another 
at Frascati. He died in Rome, 1675. 

129 — Classical Landscape with Figures 


Born at Bristol, England, 1800. Originally intended for the legal 
profession, he abandoned it and, self-taught and under many difficulties, 
struggled to make himself an artist. In 1835 he went to London, and for 
the next four years was an exhibitor at the Academy and the Society of 
Bristish Artists. In 1846 he visited Switzerland, Germany and Italy, pay- 
ing a second visit to the last in 1851. He became identified with picturesque 
scenes of lakes, rivers and mountains. Died in London, 1870. 

31 — View near Tivoli 

105 — Cader Idris 


Born at Stockbridge, near Edinburgh, 1756. Apprenticed to a gold- 
smith, he taught himself to paint miniatures. David Martin, the portrait 
painter, encouraged him to learn oil-painting, and lent him his own pictures 
to copy. In his twenty-second year a comfortable marriage enabled him to 
visit London, where Reynolds recommended him to proceed to Italy. There 
he spent two years in study. On his return to Edinburgh he soon occupied 
a prominent position as a portrait painter. In 1802 he was elected president 
of the Scottish Academy, and in 1813 an associate of the Royal Academy, 
to which he had been a constant contributor. On the occasion of George IV. 
visiting Edinburgh in 1822 he was knighted. He died the following year, 

99 — James Innes-Ker, afterwards Fifth Earl of Roxburgh 

100 — Portrait of Mrs. Imies 


Born at Urbino, 1483. Probably taught by Timoteo Vite or Luca 
Signorelli, until his uncle, Simon Carla, apprenticed him to Perugino, who 
was decorating the Sala del Cambio at Perugia. He visited Florence in 1504 

and again in 150G, consorting there with Michelangelo, Leonardo and Fra 
Bartolommeo, and executing among other works " The Entombment " in the 
Borghcse Palace. Called to Rome in 1508 by Pope Julius II., he secured 
through Bramante the decoration of the Stanze of the Vatican. During the 
twelve years of his life in Rome, in the service of Julius II. and Leo X., he 
accomplished a prodigious amount of work as painter, sculptor, architect 
and archaeologist, leaving behind also an immense number of exquisite studies 
in pen and ink, silver point, pencil and chalk. He died in 1520. 

84 — Original Study for Raphael's Famous Painting, " The 
Entombment ' ' 


Born at Leyden, 1607. Son of Harmen Gerritsz, a miller. Studied with 
Isaac van Schwanenburch, and then with Pietcr Lastman. His earliest 
signed works date from 1627. In 1630 moved to Amsterdam. Married 
in 1634 Saskia, who died in 1642. In 1656 his house in the Breedstraat 
and all its treasures were sold. The rest of his life was embarrassed with 
financial troubles. His son Titus died at the age of twenty-six, thirteen 
months before the death of Rembrandt himself, which occurred in October, 

28 — Portrait of the Artist's So?i Titus 


Born at Calvenzano, near Bologna, in 1575. His father, a music-master, 
placed him with Denis Calvaert, and then in the studio of the Carracci. He 
also studied decoration under Ferrantini. His first works betray the influence 
of Caravaggio. In 1596 he went to Rome, and under the influence of 
Raphael produced the " Aurora." His heads were often modelled from the 
antique. He maintained ateliers for pupils both in Rome and Bologna. He 
died in the latter city, 1642. 

109 — Infant Christ Sleeping on a Cross 


Born at Plympton, near Plymouth, 1723. Studied under Hudson. 
Accompanied Captain, afterwards Admiral, Keppel to the Mediterranean 
in 1749. Spent two years in Rome, and four months in visiting Florence, 
Venice and other cities of Italy. Settled in London, when his portraits of 
the beautiful Miss Gunnings and of Admiral Keppel secured his position 
from the first. Assisted in forming " The Club." First president of the 
Royal Academy. Died in 1792, and was buried in St. Paul's Cathedral. 

39 — Portrait of Mrs. Otway 

155 — Richard Grenville, First Earl Temple 


Born at Belluno, in the Venetian State, 1662. Studied under Federigo 
Cervelli at Venice. When he was twenty years old he visited Bologna, and 
was then taken under the protection of the Duke of Parma, who sent him 
to Rome for study. Invited to the Court of Vienna, he decorated the 
palace of Schoenbrunn. Resided ten years in England, painting altar-pieces 
and decorating. He was successful in imitating the styles of other masters, 
especially Paolo Veronese. Some of his best works are at Hampton Court. 
He died at Belluno, 1734. 

86— Study for " The Magdalen Washing the Feet of Christ " 


Contemporary. Native of California, where he resides. Self-taught. 
Has travelled in France, and painted in Holland and Devonshire, England. 
Represented in the Corcoran Art Gallery and in many of the best private 
collections of this country. 

132 — Early Autumn 


Born at Dalton-in-Furness, Lancashire, 1734*. A pupil of Steele at 
Kendal. Supported himself bv painting portraits. Married Mary Abbot. 
After six years he left her with two children and settled in London. In 1773 
he visited Italy for two years, and returned to London to share public favor 
with Reynolds and Gainsborough. Infatuated with Emma Hart, who was 
his model for innumerable works, he bitterly felt her marriage with 
Sir William Hamilton. He grew enfeebled, and in 1798 went back to his 
wife at Dalton, whom he had forsaken for thirty years. He died in 1802. 

149— Child Flying a Kite 


Born at Siegcn, Westphalia, 1577. Studied at Antwerp with various 
painters, among them Vacnius. At the age of twenty-two was admitted as 
a master-painter into the Guild. In 1600 visited Italy and attached himself 
to the Duke of Mantua, who sent him to Rome and, in 1603, to Madrid. 
After nearly eight years' absence returned to Antwerp in 1608. In the 
following year was made Court painter, and married Elizabeth Brandt. In 
1620 undertook the Marie de Medicis series now in the Louvre. Was em- 
ployed in diplomatic visits to Holland, Madrid and London. In 1630 he 
married Helen Fourment, niece of his former wife. He died at Antwerp in 

148 — Pluto and Proserpine 


Born in London, 1819. Son of a wine merchant, of Scotch birth, from 
whom he inherited £200,000. Accompanied his father on professional trips 
through England and Scotland, and on pleasure tours through France, 
Switzerland and Northern Italy, studying art and making drawings. At- 
tracted attention in 181-3 by the publication of the first volume of *' Modern 
Painters." Its success confirmed him in the career of art critic, and main 
years were spent in Italy in preparation of " Stones of Venice " and numer- 
ous other works. Rede Professor at Cambridge, 1867; Slade Professor it 
Oxford in 1869 and 1876. 1 le died at Brantwood, Coniston Lake, 1900. 

85 — Portrait of Mrs. Keevil Davies. Water Color 


Born at Tournai, 1744. Studied at the Academy of Antwerp. Essayed 
several styles of painting, and finally adopted that of bas-relief, in which 
he became famous. He settled for a time in Paris, where his works were 
held in high esteem, but in 1808 returned to Tournai. He imitated marbles 
and ancient terra-cottas, and painted porcelain in enamel. Died at Tournai, 

88 — Infant Bacchanals 

89 — Infant Bacchanals 


Born in Dublin, 1769, the son of a merchant. After attending a 
drawing school in Dublin, he entered the Academy school in London. Burke 
introduced him to Reynolds, but for a time he suffered privations. He 
gained a footing by portraits of well-known actors. In 1796 he married and 
took a large house in Golden Square, later moving to Cavendish Square, where 
the rest of his life was spent. In 1830, on the death of Lawrence, he was 
elected president of the Academy. Among his portraits are those of William 
IV., Queen Adelaide, Queen Victoria and Prince Albert. He died in 1850. 

48 — Portrait of Miss Peel 
121 — Boy with Bird-cage 


Landscape painter. Born about 1790. He practised in London, and 
visited Italy. Exhibited at the Royal Academy from 1820 to 1863. Died 
in London, 1868. 

115 — Street Scene in Rouen 


Norwich School. Exhibited in London between 1826 and 1860 at the 
Society of British Artists. 

124 — Cornfield at Bough Apton 


Born at Norwich, 1797. Was a pupil of Robert Ladbrookc, and visited 
Holland. He practised in his native city, and was a member of the Norwich 
Society. His works are chiefly coast and river scenes. He was a good etcher. 
Died in 1830. 

36 — Rough Sea 


Landscape painter. Born in 1794 at Norwich, son of a well-to-do dyer. 
In 1811 was articled to John Crome for three years. In 1817 he entered 
the schools of the Royal Academy. Exhibited with the Water-color Society, 
and at the British Institution. Illness obliged him to return to Norwich, 
where he married, and commenced a publication on " The Scenery of the 
Rivers of Norfolk" (1827-1834). In 1830 he took up his residence in 
London for ten years, then moved to Windsor, and finally went back to 
London, where he died in 1859. 

69 — 'Windsor Park 


Born in Narragansctt, Rhode Island, 1755. Received some instruction 
from Cosmo Alexander, a Scotch portrait painter, whom he accompanied to 
Scotland in 1772. The death of his friend left Stuart to shift for himself, 
and after struggling a while at the University of Glasgow, he returned home. 
In 1775 he found his way to London and was received as a pupil, and later as 
an assistant of Benjamin West. In 1785 he set up a studio of his own with 
great success. But his ambition was to paint President Washington, and, 
giving up his splendid prospects, he returned to America in 1793. After 
working for two years in New York, Philadelphia and Washington, he 
settled in Boston. He died there in 1828. 

67— Portrait of John Fothergill, 31. D. 


Born at Bristol about 1815. An English landscape painter who founded 
his style on that of William Muller. Exhibited at the Academy and the 
British Institution between 1832 and 1875. Died in 1885. 

9— Water Mill 


Born at Antwerp in 1610. Son and pupil of Teniers the elder. Developed 
under the influence of Rubens, and especially of Brouwer. Master of Ant- 
werp Guild in 1632, its dean in 1 644-1 645 ; Court painter to Archduke 
Leopold Wilhelm, Governor of the Netherlands. Settled in Brussels, 
where he was received into the Guild in 1675. He occupied a mansion at 
Perck, outside the city, and took an active part in founding the Antwerp 
Academy of Fine Arts. He died at Brussels in 1690. 

Ill — Christ on the Waters 


(Real name, JACOPO ROBUSTI) 

Born in Venice, 1518. Son of a silk dyer. Pupil for a short time of 
Titian. Over his own atelier he inscribed, " Michelangelo's Design, the Color 
of Titian." Vasari describes the range of his imagination and his facility 
and energy as " terrible." Annibale Carracci affirmed that if sometimes 
the equal of Titian he was often inferior to Tintoretto. His life was spent 
in Venice, where he died in 1594. 

128 — Senator in Crimson Gown 
153 — A Procurator of St. Mark's 


Born at Bodegrave between 1631 and 1642. Genre painter. Nephew 
and pupil of Gerard Dow, whose style he imitated so closely that his pictures 

were frequently attributed to that master. He is, however, generally colder 
in color. He practised for a time in Amsterdam, but lived cliiefly in Leyden. 
He died there in 1676. 

33— The Pledge 


Born in 1775, in Maiden Lane, Covent Garden. The son of a barber. 
His earliest known drawing is one of Margate Church, made when he was 
nine. He was early employed in coloring prints for John Raphael Smith, 
the engraver; in making drawings at Dr. Munro's, his patron; and in the 
fields with Girtin, and in washing in backgrounds of architectural drawings. 
In 1789 he became a student of the Academy, and the next year exhibited 
for the first time. Between 1790 and 1797 he explored nearly all England 
and Wales south of the Humber. In 1807 he began the " Liber Studiorum," 
which has been called the most satisfactory monument to his genius. It was 
to rival Claude's " Liber Veritatis," and with the same zeal to beat all com- 
petitors he set himself to rival Claude's landscapes, which he was believed 
to have accomplished in "Dido Building Carthage" (1815). Then fol- 
lowed his series of color dreams, culminating in " Ulysses Deriding Poly- 
phemus " (1829) ; while the " Fighting Temeraire," exhibited in 1839, was 
the last in which his full power was shown. He died in 1851 in a small house 
in Chelsea, whither he was accustomed to retreat at intervals. 

7 — Street in Dover. Black and Write. 

16— The Straw-yard. No. 7 of the "Liber Studiorum " 

17— The River Wye. No. 48 of the "Liber Studiorum " 

18— St. Catherine's Hill, near Guildford, No. 33 of the "Liber 
Studiorum " 

82 — Lago di Maggiore, Locarno. Water Color 

83 — Lago di Maggiore, Pallanza, Water Color 

119 — Viexv of the Neckar 

131— The Wreck 

151 — Ehren brt it. stein 


Born at Seville, 1599. Pupil of Herrera el Viejo and of Francisco 
Pacheco, whose daughter he married in 1618. In 1623 he was summoned to 
Madrid by the Duke of Olivares, who presented him to the king. He 
painted an equestrian portrait of the latter and received the appointment of 
Court painter. The visit of Rubens in 1628 made him desire to visit Italy. 
After spending a year in Rome and some time in Naples, he returned to 
Madrid, to remain there eighteen years. From 1649-1651 he was again in 
Italy, collecting pictures for the royal galleries. Before his return he was 
appointed quartermaster-general of the household, and during the last nine 
years of his life supported the anxieties of his office while creating his greatest 
masterpieces. Finally, the festivities connected with the marriage of Louis 
XIV. and the Infanta Maria Teresa proved too much for his strength. He 
died shortly after his return to Madrid, 1660. 

130 — Temple of the Winds 


Born at Amsterdam in 1633. Marine painter. Son and pupil of Willem 
Van de Velde the elder. He accompanied his father on his sea voyages, 
and in 1675 entered with him the service of Charles II. of England. In 
1686 he returned for a short time to Holland, but was called again to Eng- 
land by James II. He died at Greenwich, 1707. 

Ill — Christ on the Waters 


Born at Norwich in 1796. Pupil of " Old Crome," and member of the 
Norwich Society of Landscape Painters. His works first appeared at the 
Royal Academy in 1814. Going to London in 1819, he married and settled 
in Kentish Town. His prospects were good, but blighted by recklessness. 
He died about 1831. 

95 — Landscape with Two Cows 
137 — Country Lane 


Born in London, 1769. Animal painter and engraver. Studied en- 
graving - under John Raphael Smith, and served an apprenticeship to his 
elder brother, William James Ward, mezzotint engraver. He himself* prac- 
tised as an engraver for some years and then turned to painting, Imitating 
the style of his brother-in-law, George Morland. In 179-i he was appointed 
painter and engraver to the Prince of Wales, and devoted himself entirely 
to the painting of animals. Died at Cheshunt, 1859. 

63 — Horses — Morning 
64 — Horses — Evening 


Brother-in-law and pupil of Constable. Exhibited at the Royal Acad- 
emy between 1821 and 1862. 

62 — Landscape and Cottage 

127—Ventnor Mill, Isle of Wight 


Born in Chester County, Pennsylvania, in 1738. Had a natural gift for 
drawing. In his eighteenth year moved to Philadelphia and thence to New 
York, executing portraits. Visited Italy in 1760 and remained about three 
years. Thence he went to London, where his reception was so encouraging 
that he sent for the lady to whom he was engaged, and settled down to spend 
nearly sixty years of his life there. In 1768 he was one of the four commis- 
sioned to draw up the plan for the Royal Academy, and in 1772 was ap- 
pointed historical painter to the king. On the death of Sir Joshua he was 
elected president, but declined the honor of knighthood. He died in London, 
1820, and was buried in St. Paul's Cathedral. 

81 — Agrippina 


Born in London, 1747. His father, a master-tailor, placed him under a 
good teacher, and later in the Academy schools. He obtained several premi- 
ums from the Society of Arts, assisted in some decorations at Brocket Hall, 
Lord Melbourne's seat, and at Vauxhall, and met with good success in small 
full-length portraits. Then he eloped to Dublin with the wife of Gresse, a 
painter, and made a living by painting portraits. Returning to London, he 
first exhibited at the Academy in 1771, and became identified with rural and 
domestic subjects. He died in 1801. 

70 — Cottage Exterior 


Born in Lambeth, London, 1782. Son of Edward Williams, engraver. 
He was the pupil of his maternal uncle, James Ward, and was afterwards 
apprenticed to a carver and gilder. But meeting with some success in minia- 
tures and landscape, he turned to the latter, and gained reputation for moon- 
light scenes. Later in life he settled at Barnes, and painted the scenery of 
the Thames. He died at Barnes in 1855. 

136— The Red Lion Inn 


Born at Pinegas, in Wales, 1713. Having received a good classical 
education, he was placed under Thomas Wright, a portrait painter in 
London. He was employed in 1749 to paint full-length portraits of the 
Prince of Wales and Duke of York. He visited Italy, where, under the advice 
of Zuccarelli, the fashionable landscape painter, he devoted himself to land- 
scapes. After six years he returned to London to find Zuccarelli esteemed, 
but his own landscapes little regarded. He was an original member of the 
Academy, and between 1770 and 1780 a regular contributor. But his 
pictures did not find purchasers, and he lived in great straits until his ap- 

pointment as Librarian to the Academy supplied a small income. On the 
death of a brother he inherited a small property near Llanberis, whither he 
retired. He died there in 1782. 

40 — Landscape and Ruins 

55 — Girl with Bird's Nest 

80 — Tivoli Landscape 

122 — Lake Scene with Ruins 


Born at Beverwyck about 1616. After studying with his father he 
visited Italy, and spent some time near Naples. He excelled in painting 
shipping and seaports, and in odd characters such as quacks, alchemists and 
misers in interiors or country fair scenes. In 1660 was appointed Dean of 
the Guild of Haarlem. Visited England after the Restoration, and painted 
a " View of London " before the fire, and, more than once, " The Fire of 
London." He also etched. Died at Haarlem in 1677. 

42— The Quack Doctor 


One of the founders of the Dutch school of landscape; was born at 
Haarlem about 1615. Tradition says he was the master of Wouverman and 
Adriaan van de Velde. His earliest known pictures are dated 16-11 and 1612. 
It seems that he worked at Haarlem, and from 1665 onwards at Amsterdam. 
A picture by him in the Hermitage at St. Petersburg is dated as late as 1679. 
It is assumed that he died at Amsterdam. 

15 — Small Dutch Landscape 


Born at Ratisbon in 1733. At first instructed by Speer in his native city, 
then spent twelve years in Italy. Returning home, he made an unhappy 
marriage, which induced him to visit England. At first he had no success, 
but a portrait painted for the Earl of Barrymore at length introduced him 
to the king. Then he began to acquire reputation for portraits of actors in 
character. George III. gave him letters of introduction to the Grand Duke 
of Tuscany, and from Florence he went to Vienna to execute a commission 
for Maria Theresa. He spent from 1779-1783 in England, and then some 
years in India. He died near Kew in 1810. 

74 — Portrait of Mozart the Elder 

X *■>•■/ 



k m 







A. • 

1 V 

' / ^ V 



•K L?£^ 

'.*■ -\ 




f |9 * !